diff --git a/example.txt b/example.txt deleted file mode 100644 index 859ddaa..0000000 --- a/example.txt +++ /dev/null @@ -1 +0,0 @@ -{"action": [{"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "represented": [{"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}], "constellations": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}], "Pliny": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "happening": [{"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}], "horizontal": [{"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "requires": [{"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}], "remain": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "safer": [{"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}], "Pasvik": [{"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}], "complementary": [{"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "Rafael": [{"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}], "PureData": [{"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}], "installation": [{"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "Régine": [{"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}], "avant-gardists": [{"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}], "reinterpretation": [{"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}], "every": [{"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}], "207": [{"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}], "performances": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}], "seventies": [{"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}], "programs": [{"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "Tone": [{"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}], "Musikin": [{"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "father": [{"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}], "sensitivities": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}], "arrives": [{"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "Max": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}], "West": [{"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}], "poetry": [{"id": "06", "sentence": "Abstract poetry."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "https://monoskop.org/Concrete_poetry"}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}], "Funny": [{"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}], "United": [{"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "you": [{"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?"}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "How do you do that?"}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?"}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}, {"id": "06", "sentence": "Do you see this as a drone record?"}, {"id": "06", "sentence": "-If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "If you work against it, it will kill you."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "34", "sentence": "Julian unfortunately died at young age."}], "believe": [{"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "Sean": [{"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}], "084": [{"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}], "cts": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}], "Fri": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "nice": [{"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}], "as": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "What was the problem?"}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "-Not really, at least not in this case."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "-I do look at it as a solo thing."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "Do you see this as a drone record?"}, {"id": "06", "sentence": "Or as a collage record?"}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "What shifts happened in the past?"}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}, {"id": "34", "sentence": "Marco was primarily active as a visual artist."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "exemplifying": [{"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}], "samplers": [{"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}], "manual": [{"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}], "2.9": [{"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}], "returned": [{"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}], "compiled": [{"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}], "Experimental": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "Home": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "scar": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "That is quite scary."}], "presence": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}], "ideas": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}], "Duncan": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "Ones": [{"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}], "interpretation": [{"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}], "interior": [{"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "both": [{"id": "06", "sentence": "aiming for the best of both worlds there."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "minutes": [{"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}], "affective": [{"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "buildings": [{"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "slivers": [{"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}], "Aksiom": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "accounts": [{"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "kill": [{"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "If you work against it, it will kill you."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "consequences": [{"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}], "purposes.": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}], "noting": [{"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "matters": [{"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}], "Artez": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "days": [{"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}], "Adrian": [{"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "again": [{"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "If you work against it, it will kill you."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}], "facing": [{"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "CAPITALISM": [{"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "instrumentalisation": [{"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}], "web": [{"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}], "implosion": [{"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "earliest": [{"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}], "darkened": [{"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}], "Gerben": [{"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "timbres": [{"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}], "Q": [{"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "Quite the contrary."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "residence": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}], "MARCO": [{"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "reciprocity": [{"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}], "configurations": [{"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}], "repeat": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}], "Dr": [{"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}], "perhaps": [{"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}], "page_id=4869": [{"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}], "basis": [{"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "belongs": [{"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "Academy": [{"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}], "modern-day": [{"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "Back": [{"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}], "front": [{"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}], "initiatives": [{"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}], "notation": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "22", "sentence": "This means animated notation."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}], "Pa-Ra-Di-So": [{"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}], "remind": [{"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}], "curatorial": [{"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}], "GUEDES": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "commercial": [{"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}], "approaches": [{"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}], "letter": [{"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}], "regard": [{"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}], "bastnäsite": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "electro": [{"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "I apply filters, use electronics."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "taken": [{"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "inscriptions": [{"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}], "discussion": [{"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}], "friends": [{"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "stochastic": [{"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}], "Jovi": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "likened": [{"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}], "allegorical": [{"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "faster": [{"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}], "bars": [{"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "tradition": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "//pubs.usgs.gov/gip/0167/gip167.pdf": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Ai": [{"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}], "under": [{"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "Donaghy": [{"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}], "tribute": [{"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}], "Instead": [{"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}], "released": [{"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}], "Bouwman": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "Traffic": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "radically": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}], "multiple": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}], "pre-digital": [{"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}], "Timberlake": [{"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}], "Alex": [{"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}], "shift": [{"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "28", "sentence": "What shifts will we see?"}, {"id": "28", "sentence": "What shifts happened in the past?"}], "bridge": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}], "founders": [{"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}], "upon": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "magazine": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}], "aestheticized": [{"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "invited": [{"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "audio-visual": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}], "Where": [{"id": "28", "sentence": "Where does mining stop?"}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "majority": [{"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "keyboard": [{"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}], "floppyesk": [{"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}], "eight": [{"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}], "Vincent": [{"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}], "itself": [{"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "Hopi": [{"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}], "Waters": [{"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "flaws": [{"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}], "arbitrary": [{"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}], "sticking": [{"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}], "besides": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "spiderweb": [{"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}], "1982": [{"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}], "changes": [{"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}], "International": [{"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "publicly": [{"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}], "civilization": [{"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "morse": [{"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}], "URL": [{"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "20", "sentence": "URL: http://huellkurven.net"}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}], "isn": [{"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}], "person": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}], "North": [{"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "Were they forced up North by circumstances?"}], "Williams": [{"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "Crystal": [{"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "theories": [{"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}], "industry": [{"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}], "refusing": [{"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "definitive": [{"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}], "text-sound": [{"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}], "play": [{"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}], "Piringer": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}], "covers": [{"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "actors": [{"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}], "Holloways": [{"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}], "kilometers": [{"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "arises": [{"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "repetitions": [{"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}], "poésie": [{"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}], "interpretations": [{"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}], "misplaced": [{"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "money": [{"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}], "Laboratories": [{"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}], "coverage": [{"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "pdf": [{"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "throughout": [{"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "Foo": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "March": [{"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}], "window": [{"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}], "perfect": [{"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}], "founder": [{"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "capturing": [{"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}], "Fighters": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "collectively": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "programming": [{"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}], "either": [{"id": "06", "sentence": "And that was never the question either."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}], "Goodiepal": [{"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}], "sensor": [{"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}], "respective": [{"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}], "Derek": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "mines": [{"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "gray": [{"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}], "determine": [{"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}], "Nevertheless": [{"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}], "allow": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "organizing": [{"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}], "Records": [{"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}], "30": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}], "apparatuses": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}], "images": [{"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}], "pirate": [{"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "chamber": [{"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}], "superiority": [{"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}], "Hague": [{"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}], "technician": [{"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}], "Rare-earth": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "inspirations": [{"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}], "lasting": [{"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}], "listener": [{"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}], "goal": [{"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "come": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "various": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}], "inventors": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}], "booklets": [{"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}], "Debatty": [{"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}], "everything": [{"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}], "Ultra": [{"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}], "FI": [{"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}], "gain": [{"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "If you work against it, it will kill you."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}], "Adapter": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "rigorous": [{"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}], "transformed": [{"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}], "Dust": [{"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}], "online": [{"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "different": [{"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}], "need": [{"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}], "sequencing": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "Spider": [{"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}], "1979": [{"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}], "himself": [{"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "settle": [{"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}], "Studio": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "myths": [{"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}], "rather": [{"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}], "//animatednotation.wordpress.com/portfolio/stefan-smulovitz/": [{"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}], "frikativ": [{"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}], "whose": [{"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "failures": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "iron": [{"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "even": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "demonstrating": [{"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}], "//harddisko.chevent": [], "god": [{"id": "24", "sentence": "“Before god needed to be invented there were man."}], "monazite": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "tendencies": [{"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}], "interfaces": [{"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}], "derived": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "funnily": [{"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}], "labels": [{"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}], "primarily": [{"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "34", "sentence": "Marco was primarily active as a visual artist."}], "Blossom": [{"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}], "GEMA": [{"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}], "although": [{"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}], "station": [{"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}], "surrealist": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "pinning": [{"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "Art is not pinning things down."}], "Transparent": [{"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}], "constraint": [{"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "relate": [{"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "speakers": [{"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}], "everyday": [{"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}], "looked": [{"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}], "tactics": [{"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}], "DAAD": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}], "computational": [{"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}], "vinyls": [{"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}], "too": [{"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "example": [{"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}], "refined": [{"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}], "unnoticed.": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}], "Cat": [{"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}], "punch": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "Tielemans": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "24/03/2017": [{"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}], "theoreticians": [{"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}], "history": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "solely": [{"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}], "Stockhausen": [{"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}], "wifi": [{"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}], "mark": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}], "1234": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "traced": [{"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "Mining": [{"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}], "Off": [{"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}], "bookbinding": [{"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}], "researcher": [{"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "Lonely": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}], "Britton": [{"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "augmented": [{"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}], "noted": [{"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}], "footage": [{"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}], "at": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "Sat, 14 & Sun."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Really great stuff."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "So that’s what happened."}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "What was the problem?"}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "-Not really, at least not in this case."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "How do you do that?"}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?"}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "-I do look at it as a solo thing."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "And I follow that."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "And a statement.."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "Repeating 4."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "The conceptualization, the funding, the execution."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "participating artists: WHO ?"}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "https://en.wikipedia.org/wiki/Baton_(conducting"}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "New generations are born."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "This means animated notation."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "We can see layers of hematite."}, {"id": "28", "sentence": "You have to take a boat to get there."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "It created a vacuum after it closed."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "That is quite scary."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "What shifts will we see?"}, {"id": "28", "sentence": "What shifts happened in the past?"}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "31", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "Julian unfortunately died at young age."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "bunch": [{"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}], "filling": [{"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "'Rock": [{"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}], "superstructure": [{"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}], "expansion": [{"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "ungraspable": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "tools": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "keep": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "duck": [{"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}], "Location": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}], "features": [{"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}], "elsewhere": [{"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}], "Allen": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "20": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "annunciatory": [{"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}], "mainly": [{"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}], "Clàudia": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "after": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "It created a vacuum after it closed."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "Geologists": [{"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}], "Partiro": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Association": [{"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}], "interdisciplinary": [{"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}], "game": [{"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "floppy": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}], "Most": [{"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}], "meet": [{"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}], "VAGUE": [{"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}], "bodies": [{"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}], "Contemporary": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}], "Photo": [{"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}], "O": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "WHO???"}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Or as a collage record?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "WHO???"}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "participating artists: WHO ?"}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "artists: WHO ?"}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "WHO ???"}, {"id": "31", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}], "soldiers": [{"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}], "8-INCH": [{"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}], "chain": [{"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}], "water": [{"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}], "Small": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}], "stones": [{"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "won": [{"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}], "Happen": [{"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}], "Description": [{"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}], "catalog": [{"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "-I": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "-I do look at it as a solo thing."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "-If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}], "temporal": [{"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}], "reproduction.Jacques": [], "tangible": [{"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}], "electromagnetic": [{"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}], "sound+image": [{"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}], "capacities": [{"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}], "Without": [{"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "rehearsals": [{"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "Giulia": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "-There": [{"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}], "raster": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}], "trelations": [{"id": "24", "sentence": "I think silence has that same trelations with music."}], "Maccabees": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "viewpoints": [{"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}], "//animatednotation.com/Steinn.html": [{"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}], "fitted": [{"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}], "occurs": [{"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}], "Loaf": [{"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "professional": [{"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}], "currently": [{"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}], "tape": [{"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}], "mental": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "cleaning": [{"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}], "exchanges": [{"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "poster": [{"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}], "end": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "Margreet": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "current": [{"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}], "Uniting": [{"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "actually": [{"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "Well, a little, two years, actually."}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}], "Groot": [{"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "middle": [{"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}], "Lewis": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "spot": [{"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "31", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "scary": [{"id": "28", "sentence": "That is quite scary."}], "block": [{"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}], "competition": [{"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}], "Peri": [{"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}], "93": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}], "pitfalls": [{"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}], "drone": [{"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Do you see this as a drone record?"}, {"id": "06", "sentence": "-If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "So more drone, definitely."}], "century": [{"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "attempts": [{"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}], "silos": [{"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}], "catalogue": [{"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "backgrounds": [{"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "Analog": [{"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "sets": [{"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "Creation": [{"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}], "collaboration": [{"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "January": [{"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "loparite": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "moment": [{"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}], "developed": [{"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "Him": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "History": [{"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}], "vector": [{"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}], "Fabriek": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "Hurk": [{"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}], "California": [{"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "hell": [{"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "roofs": [{"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "spectators": [{"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}], "ever": [{"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "02", "sentence": "The result is a mix of several media."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "building": [{"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}], "AURÉLIE": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}], "Bergmark": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}], "trained": [{"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}], "unwanted": [{"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}], "extensive": [{"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}], "light": [{"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "winds": [{"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}], "responsible": [{"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}], "Charlemagne": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}], "song": [{"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "s-sake": [{"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}], "arrive": [{"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "Everything": [{"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}], "Greek": [{"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}], "general": [{"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}], "million-note": [{"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}], "leading": [{"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "methodologies": [{"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}], "Multilingualism": [{"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}], "near": [{"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}], "8.00": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Away": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}], "cooperate": [{"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}], "unusable": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "perceptions": [{"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}], "logistic": [{"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}], "spits": [{"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}], "Come": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "doubts": [{"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}], "senior": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}], "essay": [{"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}], "Miles": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "record": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Meaning a record."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "Do you see this as a drone record?"}, {"id": "06", "sentence": "Or as a collage record?"}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "Sculptress": [{"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}], "30.000": [{"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}], "new-media": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "framework": [{"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}], "fabulation": [{"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}], "Day": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "deskilled": [{"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "Guetta": [{"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}], "modified": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}], "stickers": [{"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}], "coded": [{"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}], "quickly": [{"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "billion": [{"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}], "how": [{"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "remotely": [{"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "built-in": [{"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}], "straight": [{"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}], "bnamed": [{"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "composer": [{"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}], "impressions": [{"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}], "lighting": [{"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}], "linked": [{"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "downloadable": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}], "Smile": [{"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}], "During": [{"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "concerned": [{"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}], "each": [{"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "Professor": [{"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "Browne": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "comprise": [{"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "universal": [{"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}], "fascinate": [{"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "giving": [{"id": "06", "sentence": "That’s just another way of letting things go, of giving up control."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}], "Barkley": [{"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "End": [{"id": "06", "sentence": "End of piece."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}], "lignite": [{"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}], "Harpverk": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "manural": [{"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}], "Wijk": [{"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "translate": [{"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}], "ranges": [{"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}], "defective": [{"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}], "Wiesbaden": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}], "October": [{"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}], "imagery": [{"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}], "sign": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "https://xpub.pzimediadesign.nl"}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}], "tactility": [{"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}], "base": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "institutional": [{"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}], "Weller": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}], "contemporary": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "evoking": [{"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}], "flapping": [{"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}], "rang": [{"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "07", "sentence": "It’s strangely hypnotizing."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "deliberately": [{"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}], "immediate": [{"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}], "Feat": [{"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "access": [{"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "ágengra": [{"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}], "Kris": [{"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}], "embarrassment": [{"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}], "e-warriors": [{"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "above": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}], "slambanken": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}], "Guillemots": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "influential": [{"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}], "function": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?"}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}], "Counting": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "PU-SH-ING": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}], "submitted": [{"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}], "underneath": [{"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}], "Dashper": [{"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}], "Polyphonic": [{"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}], "//www.deplayer.nl/releases/tetra-gamma-circulaire-3": [{"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}], "Razorlight": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "defined": [{"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}], "relationship": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "inviting": [{"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}], "Christian": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}], "famously": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}], "touchpads": [{"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}], "others": [{"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "inspiring": [{"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}], "Graphics": [{"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "input": [{"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}], "displays": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}], "Big": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "improvisation": [{"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}], "visitors": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}], "Water": [{"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}], "aids": [{"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}], "intertwine": [{"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}], "coordinate": [{"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}], "Call": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "unrelated": [{"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "real": [{"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "-Not really, at least not in this case."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}], "served": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "34", "sentence": "Good food and drinks were served."}], "matching": [{"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}], "shifting": [{"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}], "Signification": [{"id": "21", "sentence": "Signification also plays a major role in this."}], "sound-art-collective": [{"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}], "Data": [{"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "You": [{"id": "06", "sentence": "-You do it in short sessions, hah."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "You have to take a boat to get there."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}], "Akan": [{"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}], "Does": [{"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}], "truly": [{"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}], "People": [{"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}], "Buma": [{"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}], "compositional": [{"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}], "dissonance": [{"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}], "explore": [{"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "representation": [{"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}], "Founding": [{"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "drop": [{"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}], "metals": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "multimedia": [{"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}], "Witt": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}], "engineer": [{"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}], "reference": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "Ziolkowski": [{"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "didn": [{"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}], "gone": [{"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}], "away": [{"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "certain": [{"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}], "Capitalism": [{"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "TheTrueEnd": [{"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}], "practitioners": [{"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}], "satisfy": [{"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "agree": [{"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}], "-Not": [{"id": "06", "sentence": "-Not really, at least not in this case."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}], "POLY-DISO": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}], "2000": [{"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}], "counterpartner": [{"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}], "believes": [{"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}], "Slow": [{"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}], "strongly": [{"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "mythologizing": [{"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}], "noises": [{"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}], "so": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "Why so?"}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "-I do look at it as a solo thing."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "A sort of live coding."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "28", "sentence": "It’s a kind of sound alchemy."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "Arezo": [{"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}], "ROSS": [{"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}], "Hohti": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "0.05": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "huge": [{"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}], "Portapak": [{"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}], "Klafferi": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "connected": [{"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}], "with": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "We first got in touch with Principium 1.0."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I did the same with coal."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "break": [{"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}], "Except": [{"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}], "Niek": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}], "comprises": [{"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "Orson": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "lies": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}], "frakativ": [{"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}], "number": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "ultimately": [{"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}], "rises": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "concept-": [{"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}], "them": [{"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "Oil": [{"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}], "parks": [{"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "prices": [{"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}], "June": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "'s": [{"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}], "pt": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "The conceptualization, the funding, the execution."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "time.": [{"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}], "Holiday": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "splatter-chords": [{"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "silence": [{"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "I think silence has that same trelations with music."}], "sequencers": [{"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}], "President": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}], "emancipate": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}], "extra-musical": [{"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}], "guide": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}], "value": [{"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}], "will": [{"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "If you work against it, it will kill you."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "What shifts will we see?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "celebrated": [{"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}], "mediators": [{"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}], "audiovisual": [{"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}], "NOV": [{"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "delivered": [{"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}], "HOLZER": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}], "contrary": [{"id": "06", "sentence": "Quite the contrary."}], "moths": [{"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "Via": [{"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}], "it": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "Join the community."}, {"id": "06", "sentence": "We first got in touch with Principium 1.0."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "Well, a little, two years, actually."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "-You do it in short sessions, hah."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "-I do look at it as a solo thing."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "Art is letting things go, let it flow\"."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "Quite the contrary."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "So more drone, definitely."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Until i tried it."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "TGC #3 fits right in."}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "How much influence does it have on a community?"}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I did the same with coal."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "We can see layers of hematite."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "It created a vacuum after it closed."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "If you work against it, it will kill you."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "That is quite scary."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "position."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "body": [{"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}], "cliché": [{"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}], "fr": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "laser": [{"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}], "foremost": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}], "Status": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "plagiarize": [{"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}], "multi-instrumentalist": [{"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}], "Giovanelli": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "REMCO": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}], "understood": [{"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}], "essentially": [{"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}], "12": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "VARIA": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "Agenda": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "dissent": [{"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "counselor": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}], "operational": [{"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}], "Berlin": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}], "Lieven": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}], "followed": [{"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}], "Sozzi": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "SYNTHESIS": [{"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}], "forth": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}], "may": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}], "Knížák": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}], "notes": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "Product": [{"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}], "adhering": [{"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}], "abusive": [{"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "Meaning": [{"id": "06", "sentence": "Meaning a record."}], "constructing": [{"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}], "reception": [{"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}], "want": [{"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}], "ignores": [{"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}], "articulated": [{"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}], "organized": [{"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}], "title": [{"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "non-existent": [{"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}], "Furtado": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "A.O": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}], "music": [{"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "Subcultures form through music."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "readable": [{"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}], "MUSIC": [{"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "decade": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}], "Implosion": [{"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}], "Blunt": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "entrepreneur": [{"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}], "nicely": [{"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}], "Tell'em": [{"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "formations": [{"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}], "Be": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}], "needs": [{"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}], "exploitation": [{"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}], "pitch": [{"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}], "Shot": [{"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "amplitude": [{"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}], "joyful": [{"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}], "Clumsy": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Strips": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "soon": [{"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "totally": [{"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}], "Koos": [{"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}], "instrument": [{"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}], "Boy": [{"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "urban": [{"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "program": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "facade": [{"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}], "Enrique": [{"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}], "famous": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}], "Angel": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}], "Queen": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}], "foreign": [{"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}], "[": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "dirty": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}], "guess": [{"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}], "his/her": [{"id": "09", "sentence": "Each student could design his/her own project on this medium."}], "yes": [{"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "24.00": [{"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "Price": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "strictly": [{"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}], "assemble": [{"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "Catch": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "brutal": [{"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}], "hardiest": [{"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}], "settings": [{"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}], "Cherry": [{"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}], "begin": [{"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}], "operates": [{"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}], "'re": [{"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}], "dystopian": [{"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}], "thus": [{"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}], "octaves": [{"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}], "emotional": [{"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}], "honest": [{"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}], "gives": [{"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}], "gravity": [{"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "gaffs": [{"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}], "nature": [{"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}], "inventive": [{"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}], "file": [{"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}], "mechanized": [{"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}], "statistics": [{"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}], "clockwork": [{"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}], "Kahn": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}], "historical": [{"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "decision": [{"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}], "enrolled": [{"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}], "Closer": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "manifesting": [{"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "yourself": [{"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}], "//sydvarangergruve.no/produkt": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "First": [{"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}], "generations": [{"id": "21", "sentence": "New generations are born."}], "challenge": [{"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}], "collaborated": [{"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}], "tasks": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}], "industries": [{"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "serving": [{"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}], "traditions": [{"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}], "sky": [{"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}], "give": [{"id": "06", "sentence": "This is the short version, can you give me the full story?"}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "beautiful": [{"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}], "Transit": [{"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "Handelsgebouw": [{"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "standpoint": [{"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}], "information": [{"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}], "Detmold": [{"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}], "consistently": [{"id": "25", "sentence": "By acting consistently within these structures he creates his works."}], "authoritative": [{"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}], "controlling": [{"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "Change": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "small": [{"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}], "Oostzijde": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}], "sees": [{"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}], "Studies": [{"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "joined": [{"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}], "community": [{"id": "06", "sentence": "Join the community."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "How much influence does it have on a community?"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "demonstrations": [{"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}], "share": [{"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}], "response": [{"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "equivalent": [{"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "musician": [{"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "Sundown": [{"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}], "beat": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}], "case": [{"id": "06", "sentence": "-Not really, at least not in this case."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "choral": [{"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}], "coin": [{"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}], "favor": [{"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}], "original": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "musique": [{"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}], "pages": [{"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}], "Cramer": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Leona": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "ink": [{"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "34", "sentence": "Good food and drinks were served."}], "Another": [{"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}], "Durante": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "medieval": [{"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}], "Crumb": [{"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}], "Guðmundur": [{"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}], "ask": [{"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}], "regrets": [{"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}], "Joseph": [{"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}], "Concretely": [{"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}], "Ståhl": [{"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}], "narrow": [{"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}], "finding": [{"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}], "certainly": [{"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}], "Johannes": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}], "levels": [{"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}], "Snow": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "journalists": [{"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "honourable": [{"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}], "rising": [{"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "worrying": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}], "Cowboy": [{"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "suggested": [{"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}], "'Principium": [{"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}], "chunks": [{"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}], "NY": [{"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}], "progeny": [{"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}], "Nuur": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "improper": [{"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}], "strata": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "Type": [{"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "pioneering": [{"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}], "perspectives": [{"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "call": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "discursive": [{"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}], "If": [{"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "-If you force me to choose between those two, then drone."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "If you work against it, it will kill you."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}], "Sex": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Finnish": [{"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}], "Heroes": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "Connor": [{"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "An": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "And I follow that."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "And a statement.."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}], "fully": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}], "someone": [{"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}], "Florian": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "aka": [{"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "sheet": [{"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "arm": [{"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "Cent": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}], "e-culture": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "Samanda": [{"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}], "artist": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "participating artists: WHO ?"}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "artists: WHO ?"}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "Marco was primarily active as a visual artist."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Ellis-Bextor": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "formed": [{"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}], "1962": [{"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}], "Chasing": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Tumbai": [{"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}], "approach": [{"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}], "Gallium": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "sell": [{"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}], "Arsenale": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "tapes": [{"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}], "modular": [{"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}], "Tonight": [{"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}], "Jack": [{"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}], "difficult": [{"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}], "Crush": [{"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "deltas": [{"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}], "factor": [{"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "Otherwise": [{"id": "06", "sentence": "Otherwise you're not an artist."}], "existing": [{"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "inside": [{"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "survival": [{"id": "07", "sentence": "It is nessecary for evolution and survival."}], "sculpting": [{"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}], "for": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "-If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "aiming for the best of both worlds there."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "Subcultures form through music."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "Good practise for the ears."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "It is important for companies to manage this."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "Were they forced up North by circumstances?"}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "Julian unfortunately died at young age."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "label": [{"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}], "Kingston": [{"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}], "therefore": [{"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "processed": [{"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}], "waste": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}], "MacDiarmid": [{"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}], "reverence": [{"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}], "big": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}], "already": [{"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}], "couldn": [{"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}], "Greatest": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}], "urethan": [{"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}], "plays": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}], "Bennett": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "affects": [{"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}], "commemoration": [{"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}], "//en.wikipedia.org/wiki/Baton_": [{"id": "19", "sentence": "https://en.wikipedia.org/wiki/Baton_(conducting"}], "Wombats": [{"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}], "known": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "blazing": [{"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}], "radiating": [{"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "Girl": [{"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "hours": [{"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "decorative": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "tuning": [{"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}], "characters": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "foundation": [{"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}], "Asteroids": [{"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}], "enjoyable": [{"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}], "received": [{"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "Luxembourg": [{"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}], "chat": [{"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}], "grown": [{"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "Participants": [{"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}], "Half": [{"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}], "disc": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}], "course": [{"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "Goddess": [{"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}], "technological": [{"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}], "guitar": [{"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "recent": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "firmament": [{"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}], "free": [{"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}], "Piano": [{"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "talk": [{"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}], "was": [{"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "What was the problem?"}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "Marco was primarily active as a visual artist."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}], "Orchestra": [{"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "investigate": [{"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}], "believing": [{"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}], "Especially": [{"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}], "elusive": [{"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}], "m": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "02", "sentence": "The result is a mix of several media."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "http://www.remcovanbladel.nl/"}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Join the community."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "We first got in touch with Principium 1.0."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?"}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "What was the problem?"}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "And a statement.."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "-If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "So more drone, definitely."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "06", "sentence": "aiming for the best of both worlds there."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "https://monoskop.org/Concrete_poetry"}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "Subcultures form through music."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "This means animated notation."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "https://xpub.pzimediadesign.nl"}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Where does mining stop?"}, {"id": "28", "sentence": "How much influence does it have on a community?"}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I did the same with coal."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "It is important for companies to manage this."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "We can see layers of hematite."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "It created a vacuum after it closed."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "Were they forced up North by circumstances?"}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "28", "sentence": "It’s a kind of sound alchemy."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "Marco was primarily active as a visual artist."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Wrecking": [{"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "TUNING": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}], "Lazytown": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "theory": [{"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}], "hear": [{"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "Analysis": [{"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}], "Aika": [{"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "creativity": [{"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}], "detail": [{"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}], "annual": [{"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}], "09.00": [{"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}], "edge": [{"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}], "turning": [{"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}], "Sugababes": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "produced": [{"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}], "photographic": [{"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "frequent": [{"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}], "4": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Sat, 14 & Sun."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Repeating 4."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "turned": [{"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}], "determined": [{"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}], "steel": [{"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "raped": [{"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "Filo": [{"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}], "sonore": [{"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}], "2007": [{"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}], "turntablism": [{"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}], "sequencer": [{"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}], "channels": [{"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "prod": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "purchased": [{"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}], "version": [{"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?"}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}], "authors": [{"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}], "Mesias": [{"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}], "Autumnsong": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}], "XXXIII": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "radiation": [{"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}], "format": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}], "things": [{"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "06", "sentence": "Art is letting things go, let it flow\"."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "quipped": [{"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}], "Beggin": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "inductive": [{"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}], "structures": [{"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}], "0.45": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Grant": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "imagination": [{"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}], "Party": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "towards": [{"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "Bas": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "Timo": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "consisted": [{"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}], "production": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "]": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "poet": [{"id": "06", "sentence": "Abstract poetry."}, {"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "https://monoskop.org/Concrete_poetry"}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}], "wind": [{"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}], "popular": [{"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "ambiguity": [{"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}], "Fontys": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "St.": [{"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}], "inch": [{"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}], "landed": [{"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}], "aims": [{"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}], "stasis": [{"id": "28", "sentence": "Those recordings symbolise the stasis of time."}], "Flute": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "denies": [{"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "absurd": [{"id": "28", "sentence": "It’s absurd when you start to think about it."}], "Score": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}], "sure": [{"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}], "type": [{"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}], "Fricatives": [{"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}], "wrong": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}], "functioning": [{"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}], "assess": [{"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}], "'Do-Re-Mi": [{"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}], "invitation": [{"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}], "environmental": [{"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}], "start": [{"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}], "large": [{"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}], "hall": [{"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}], "evolutionary": [{"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}], "Owen": [{"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}], "2nite": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "combined": [{"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "us": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "They’re just new pieces in their own right."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "Subcultures form through music."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "I apply filters, use electronics."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "overall": [{"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "Ellen": [{"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}], "team": [{"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "library": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "Different": [{"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}], "post-ironic": [{"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}], "circumstances": [{"id": "28", "sentence": "Were they forced up North by circumstances?"}], "process": [{"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}], "AMSTERDAM": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}], "phenomenon": [{"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}], "Peter": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}], "flecked": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "deconstruct": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}], "Sat": [{"id": "01", "sentence": "Sat, 14 & Sun."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}], "website": [{"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "den": [{"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "evokes": [{"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}], "destruction": [{"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Axle": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "interpreted": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}], "still": [{"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}], "such": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "Sandy": [{"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}], "2018": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "PUSHING": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "area": [{"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}], "Do-Re-Mi": [{"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}], "laut": [{"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}], "consultant": [{"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}], "microphones": [{"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}], "zine": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}], "registers.": [{"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}], "periods": [{"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}], "Gingeas": [{"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "Never": [{"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Cathode": [{"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}], "added": [{"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}], "completely": [{"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "25", "sentence": "The system was therefore completely stuck."}], "ethical": [{"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}], "1991": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}], "underlying": [{"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}], "14": [{"id": "01", "sentence": "Sat, 14 & Sun."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "providing": [{"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}], "transmitters": [{"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}], "Lee": [{"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}], "processing.": [{"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "Island": [{"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}], "fears": [{"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}], "able": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}], "Christina": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "quotes": [{"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}], "Verge": [{"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "ethics": [{"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}], "implications": [{"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}], "properties": [{"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}], "expressing": [{"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}], "range.": [{"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}], "painting": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}], "emulating": [{"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}], "pavilion": [{"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}], "resonant": [{"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}], "am": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "I did the same with coal."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "effective": [{"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "manipulated": [{"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}], "JODI": [{"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}], "beauty": [{"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}], "plantenga": [{"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}], "soundwaves": [{"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}], "roll": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "—": [{"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "impose": [{"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}], "undergoing": [{"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}], "update": [{"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}], "fear": [{"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}], "played": [{"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}], "09/09/2016": [{"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}], "including": [{"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "Jürgenson": [{"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "associated": [{"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "segments": [{"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}], "leads": [{"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "UK": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "say": [{"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}], "5.00": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Tectonics": [{"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "Informed": [{"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}], "adopted": [{"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}], "bushes": [{"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "percentage": [{"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}], "Our": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}], "following": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}], "McFly": [{"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}], "columbite": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "advance": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "Light": [{"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}], "solo": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "-I do look at it as a solo thing."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}], "Yourself": [{"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "Yuki": [{"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}], "risk-free": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "Blackers": [{"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "brass": [{"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}], "fragment": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}], "job": [{"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}], "harbour": [{"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "disseminating": [{"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}], "aimed": [{"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "ARTKILLART": [{"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}], "custom": [{"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "Not": [{"id": "06", "sentence": "-Not really, at least not in this case."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "frequencies": [{"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "SCORE": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "ca": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?"}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "-Not really, at least not in this case."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?"}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We can see layers of hematite."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "That is quite scary."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "angles": [{"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}], "herman": [{"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}], "FRANKLIN": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}], "origins": [{"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "General": [{"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}], "AT": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "works": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "21^st": [{"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}], "tantalite": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "developments": [{"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}], "Moniker": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}], "commercially": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}], "The": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "The result is a mix of several media."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "They’re just new pieces in their own right."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "The conceptualization, the funding, the execution."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "4th": [{"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}], "Faster": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "2008": [{"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}], "long-duration": [{"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "notion—that": [{"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "valid": [{"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}], "Flenger": [{"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}], "quietude": [{"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "Layne": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}], "member": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}], "Shena": [{"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}], "bringing": [{"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}], "floppies": [{"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}], "investigates": [{"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}], "dad": [{"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}], "catalysts": [{"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}], "vinyl": [{"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?"}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "RAM": [{"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}], "held": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}], "Subotnik": [{"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}], "'prepared": [{"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier'."}], "slowly": [{"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}], "Artists": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}], "„": [{"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}], "absent": [{"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}], "Gamma": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}], "show": [{"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "economy": [{"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}], "piksel": [{"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}], "99": [{"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "Zealand": [{"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}], "off": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}], "Enter": [{"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}], "Athena": [{"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}], "mutated": [{"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}], "feedback": [{"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "reduced": [{"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}], "fundamental": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}], "cheironomy": [{"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}], "structure": [{"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}], "Stupidisco": [{"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}], "schools": [{"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}], "1990": [{"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "HELGA": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}], "PRINCIPIUM": [{"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}], "dot": [{"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}], "sounding": [{"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "Earthquake": [{"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}], "20:00hrs": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "did": [{"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "I did the same with coal."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}], "strength": [{"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}], "One": [{"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}], "PU": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "like": [{"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}], "graduate": [{"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}], "not": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "-Not really, at least not in this case."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "It’s strangely hypnotizing."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "This means animated notation."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "vanBasco": [{"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "Brieselaan": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}], "surrounds": [{"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}], "Gallery": [{"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}], "society": [{"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}], "Matthieu": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "dig": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "today": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}], "Guido": [{"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}], "Orientation": [{"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}], "computing": [{"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}], "Delft": [{"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}], "players": [{"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}], "Monkeys": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "mannerisms": [{"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}], "set": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "Newton": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "think": [{"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}], "birth": [{"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}], "style": [{"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "undertakes": [{"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}], "era": [{"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "02", "sentence": "The result is a mix of several media."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "New generations are born."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "vital": [{"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}], "dystopias": [{"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}], "qualities": [{"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "amazing": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}], "surround": [{"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}], "Cascone": [{"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "February": [{"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "flying": [{"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}], "Kuzbass": [{"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "And": [{"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "And I follow that."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "And a statement.."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}], "illegally": [{"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "Figures": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "widest": [{"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}], "physics": [{"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}], "audio-driven": [{"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}], "synthetic": [{"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}], "landscape": [{"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}], "Paradiso": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}], "the": [{"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Join the community."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?"}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "What was the problem?"}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?"}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "They’re just new pieces in their own right."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "-If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "Quite the contrary."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "06", "sentence": "aiming for the best of both worlds there."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "The conceptualization, the funding, the execution."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "Good practise for the ears."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "thesis in Mills College."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "thesis in Mills College."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I did the same with coal."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "You have to take a boat to get there."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "What shifts happened in the past?"}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "Were they forced up North by circumstances?"}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "28", "sentence": "All to get to the desired result: the gold!’"}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "31", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "tend": [{"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}], "sites": [{"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}], "receiving": [{"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}], "surface": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}], "Specifically": [{"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "must": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "figure": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}], "typography": [{"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}], "indignation": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "hacked": [{"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}], "sacred": [{"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "2016": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "Mariah": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "later": [{"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}], "enjoy": [{"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}], "Kakakakaito1998": [{"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "Aguilera": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "DJ": [{"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}], "statements": [{"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}], "first": [{"id": "06", "sentence": "We first got in touch with Principium 1.0."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "withdrawal": [{"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "computer": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}], "Schematics": [{"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}], "absence": [{"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}], "composing": [{"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}], "Katie": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "harsh": [{"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "choir": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}], "og": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "efficiency": [{"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}], "lives": [{"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}], "HIELE": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}], "Rhizome": [{"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "relentless": [{"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "indictment": [{"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}], "Una": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "which": [{"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "principle": [{"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}], "hand": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "thermal": [{"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}], "African": [{"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}], "Saturday": [{"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}], "utilizes": [{"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}], "listen": [{"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}], "weaving": [{"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}], "prepared": [{"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier'."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}], "aal": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "Gohan": [{"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}], "liberation": [{"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}], "archaeology": [{"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}], "generator": [{"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}], "21st": [{"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "unfortunately": [{"id": "34", "sentence": "Julian unfortunately died at young age."}], "is": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "His best ones."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "02", "sentence": "The result is a mix of several media."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?"}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no."}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "-Not really, at least not in this case."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "06", "sentence": "Art is letting things go, let it flow\"."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "Do you see this as a drone record?"}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "10", "sentence": "https://harddisko.ch"}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "participating artists: WHO ?"}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Good practise for the ears."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "This means animated notation."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "thesis in Mills College."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "thesis in Mills College."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "artists: WHO ?"}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "It is important for companies to manage this."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "That is quite scary."}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "Marco was primarily active as a visual artist."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Sonology": [{"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}], "Mika": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "borderline": [{"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}], "Nathan": [{"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}], "Serial": [{"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "Willem": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}], "playground": [{"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}], "conventional": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}], "pure": [{"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}], "Underground": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "follow": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "And I follow that."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}], "thinks": [{"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}], "von": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "Tin": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "tailings": [{"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}], "word": [{"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}], ";": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}], "Marco": [{"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "Marco was primarily active as a visual artist."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}], "Bleeding": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "span": [{"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}], "NILSEN": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}], "utensils": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "cover": [{"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "\\": [{"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "Represent": [{"id": "12", "sentence": "Representing 3."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}], "referring": [{"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}], "PZI": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}], "Sonic": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}], "derive": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "distinctive": [{"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "7": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}], "5": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "takes": [{"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}], "de-mass-splintering": [{"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}], "Piet": [{"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}], "Paris": [{"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}], "negative": [{"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}], "memory": [{"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}], "resulted": [{"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}], "ISSTC": [{"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "Repeating": [{"id": "12", "sentence": "Repeating 4."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}], "Eamon": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "BUMA": [{"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}], "date": [{"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "VALENTINA": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "Atli": [{"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "propose": [{"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "my": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "28", "sentence": "It’s a kind of sound alchemy."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "interests": [{"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}], "metre": [{"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}], "art": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "participating artists: WHO ?"}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "artists: WHO ?"}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "Marco was primarily active as a visual artist."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "transpose": [{"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}], "sylvinite": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "RECORDS": [{"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}], "Drama": [{"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}], "light-sensitive": [{"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}], "closer": [{"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}], "subtitled": [{"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}], "parent": [{"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "blog": [{"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "mixed": [{"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}], "man": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "It is important for companies to manage this."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "505": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Portugal": [{"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}], "logistically": [{"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}], "speak": [{"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "MORE": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}], "Is": [{"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "Schaeffer": [{"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}], "ARCHIVING": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "Winehouse": [{"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}], "concentrated": [{"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}], "archival": [{"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}], "statement..": [{"id": "06", "sentence": "And a statement.."}], "cacti": [{"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "amblygonite": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "manage": [{"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "28", "sentence": "It is important for companies to manage this."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}], "revenue": [{"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}], "discussing": [{"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}], "superfast": [{"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}], "LED": [{"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}], "striking": [{"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}], "seemed": [{"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}], "inquiry": [{"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}], "im": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "aiming for the best of both worlds there."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "This means animated notation."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "https://xpub.pzimediadesign.nl"}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "It is important for companies to manage this."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "Marco was primarily active as a visual artist."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "bloggers": [{"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "Liar": [{"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}], "E-ARTHHA": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}], "constructed": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}], "//www.instagram.com/macumbista/": [{"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}], "speaking": [{"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}], "partners": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}], "acting": [{"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}], "Resonanz": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}], "credits": [{"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}], "Kaprow": [{"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}], "Wikia": [{"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}], "steps": [{"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}], "//endlesswebsite.blogspot.nl/": [{"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}], "laserbeam": [{"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}], "shuffled": [{"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}], "better": [{"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "adviser": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}], "technology": [{"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}], "deals": [{"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "uninhabitable": [{"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}], "Alfie": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "influenced": [{"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}], "Preachers": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}], "culture": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "21", "sentence": "Subcultures form through music."}], "authentic": [{"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}], "platform": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}], "reasons": [{"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}], "vs": [{"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}], "curator": [{"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}], "noise": [{"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "fit": [{"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "27", "sentence": "TGC #3 fits right in."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "snow": [{"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}], "Blood": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "back": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "follows": [{"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}], "interesting": [{"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}], "population": [{"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}], "implication": [{"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}], "Triple": [{"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}], "trace": [{"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "evolve": [{"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}], "abuse": [{"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}], "inspirational": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}], "passive": [{"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "Age": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "C": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "21", "sentence": "https://monoskop.org/Concrete_poetry"}, {"id": "22", "sentence": "thesis in Mills College."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "thesis in Mills College."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "TGC #3 fits right in."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "region": [{"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}], "noisette": [{"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}], "stacked": [{"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}], "articulators": [{"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}], "8": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}], "partly": [{"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}], "showcasing": [{"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}], "really": [{"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "-Not really, at least not in this case."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}], "soil": [{"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}], "Each": [{"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}], "Andy": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}], "performed": [{"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}], "counter-energy": [{"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "Calvin": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "NOTING": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}], "synthesizer": [{"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}], "dat": [{"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "recently": [{"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}], "foreshadow": [{"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}], "Earth": [{"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}], "publications": [{"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "weekend": [{"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}], "couple": [{"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}], "Verka": [{"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}], "Mead": [{"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}], "Or": [{"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Or as a collage record?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "southwestern": [{"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "Belgian": [{"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}], "simple": [{"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}], "stated": [{"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}], "inches": [{"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}], "Vanessa": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "funny": [{"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}], "Hudgens": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "experiment": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "ve": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "So far Evelin Brosi."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "The result is a mix of several media."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?"}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?"}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "A sort of live coding."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "20", "sentence": "URL: http://huellkurven.net"}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "How much influence does it have on a community?"}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "You have to take a boat to get there."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}, {"id": "34", "sentence": "Marco was primarily active as a visual artist."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}, {"id": "34", "sentence": "Good food and drinks were served."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "downloaded": [{"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}], "70,200": [{"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}], "touch": [{"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "06", "sentence": "We first got in touch with Principium 1.0."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}], "Author": [{"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}], "genre": [{"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "constitutes": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}], "WORM": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}], "CaO": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "plunder": [{"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}], "contains": [{"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}], "der": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "beamer": [{"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}], "head": [{"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}], "NET": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}], "Era": [{"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "voice": [{"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "automatic": [{"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "confront": [{"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}], "Wallgallery": [{"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}], "crushed": [{"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}], "explores": [{"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "individually": [{"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}], "India": [{"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}], "London": [{"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "setting": [{"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}], "sounds": [{"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "underground.": [{"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}], "Scottish": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "formation": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}], "YANN": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}], "rock": [{"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}], "movement": [{"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}], "Angeles": [{"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}], "breakers": [{"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}], "Dress": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "all-dominating": [{"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}], "Exotica": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}], "Darwinian": [{"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}], "corresponded": [{"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}], "Buennagel": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}], "introduced": [{"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}], "extends": [{"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}], "Korea": [{"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}], "boat": [{"id": "28", "sentence": "You have to take a boat to get there."}], "decoding": [{"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}], "fall": [{"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}], "result": [{"id": "02", "sentence": "The result is a mix of several media."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "28", "sentence": "All to get to the desired result: the gold!’"}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}], "shorter": [{"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}], "parallelling": [{"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}], "Hilmar": [{"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "Bones": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "impuls": [{"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}], "Inspiration": [{"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}], "Fred": [{"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "idea": [{"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "quartz": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "importance": [{"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}], "Bing": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "worker": [{"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "formula": [{"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}], "remains": [{"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}], "aspects": [{"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}], "B": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "So far Evelin Brosi."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "19", "sentence": "https://en.wikipedia.org/wiki/Baton_(conducting"}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}], "movements": [{"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}], "time": [{"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "cheaper": [{"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}], "graphically": [{"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}], "discussions": [{"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}], "emitted.": [{"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}], "quartet": [{"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}], "variety": [{"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}], "claimed": [{"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "sphere": [{"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}], "starting": [{"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}], "experiments": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}], "written": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}], "repetition": [{"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}], "trillion": [{"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}], "occurrences": [{"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}], "Master": [{"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}], "P": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier'."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "We first got in touch with Principium 1.0."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}], "Kagel": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}], "writing": [{"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}], "your": [{"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "roster": [{"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}], "So": [{"id": "01", "sentence": "So far Evelin Brosi."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "So that’s what happened."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "So more drone, definitely."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}], "Johansson": [{"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}], "kinetic": [{"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "clarify": [{"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}], "text": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}], "entities": [{"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}], "bound": [{"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}], "within": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "Remco": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}], "rest": [{"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "BUENNAGEL": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}], "several": [{"id": "02", "sentence": "The result is a mix of several media."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "third": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "artistry": [{"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}], "synth": [{"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}], "hold": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}], "18:00hrs": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "Candyman": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "intervention": [{"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Almost": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Ray": [{"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}], "innovative": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "VUKSIC": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "separate": [{"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}], "expected": [{"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}], "failure": [{"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "splitting": [{"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}], "exceeded": [{"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}], "previously": [{"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}], "Better": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Amongst": [{"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}], "c.": [{"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "c. 1963"}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "Subcultures form through music."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}], "meaningful": [{"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "strangely": [{"id": "07", "sentence": "It’s strangely hypnotizing."}], "electro-instrumental": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "venue": [{"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "8th": [{"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}], "enchants": [{"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}], "Ultima": [{"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "one": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "His best ones."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "Do you see this as a drone record?"}, {"id": "06", "sentence": "-If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "So more drone, definitely."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "statement": [{"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}, {"id": "06", "sentence": "And a statement.."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}], "focuses": [{"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}], "wide-ranging": [{"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "BJ": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}], "intelligible": [{"id": "23", "sentence": "That way the most irregular things can become very intelligible."}], "Technical": [{"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "This": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?"}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "This means animated notation."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "dub": [{"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}], "Shikari": [{"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}], "pushed": [{"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}], "transposed": [{"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}], "asking": [{"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}], "attempt": [{"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}], "Miley": [{"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "plucks": [{"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}], "smaller": [{"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}], "Kim": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "misunderstanding": [{"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}], "Due": [{"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}], "unexplored": [{"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}], "eleven": [{"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}], "screamed": [{"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}], "proceeds": [{"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "group": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "limbo": [{"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}], "Willis": [{"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "accessible": [{"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "anymore": [{"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}], "direction": [{"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}], "Poly-diso": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}], "hardware": [{"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}], "plants": [{"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}], "Moon": [{"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "investigated": [{"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}], "permission": [{"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}], "Antwerp": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}], "influences": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}], "Produced": [{"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier'."}], "probe": [{"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}], "calls": [{"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}], "Java": [{"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "kitsch": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "any": [{"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "Helga": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}], "story": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?"}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "train": [{"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "our": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}], "Kokmeijer": [{"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "relative": [{"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}], "transport": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}], "note": [{"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "MAMPlayer": [{"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "1983": [{"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "begun": [{"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "consciousness": [{"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}], "subversive": [{"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}], "stick": [{"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}], "match": [{"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "...": [{"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}], "Siberia": [{"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "Breathless": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Joost": [{"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}], "en": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "So that’s what happened."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "And a statement.."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "-If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Representing 3."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "https://en.wikipedia.org/wiki/Baton_(conducting"}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "20", "sentence": "URL: http://huellkurven.net"}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "21", "sentence": "New generations are born."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "How much influence does it have on a community?"}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "What shifts happened in the past?"}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "31", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "subject": [{"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}], "Evelin": [{"id": "01", "sentence": "So far Evelin Brosi."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "vehicles": [{"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "ground": [{"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "confection": [{"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}], "forms": [{"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}], "Player": [{"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "confrontational": [{"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}], "64-bit": [{"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "contained": [{"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}], "enough": [{"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}], "computer-derived": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "little": [{"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "Well, a little, two years, actually."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}], "FLORIS": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}], "Audio": [{"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}], "associate": [{"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "told": [{"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}], "Center": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}], "Roberto": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "Starting": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}], "term": [{"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}], "usually": [{"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}], "lenticulars": [{"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}], "Lostprophets": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "performative": [{"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}], "concepts": [{"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "caused": [{"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "introducing": [{"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}], "1970": [{"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}], "Acrylic": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "entitled": [{"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}], "adventurous": [{"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}], "modifying": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}], "individual": [{"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "interrupted": [{"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}], "ears": [{"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Well, a little, two years, actually."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "22", "sentence": "Good practise for the ears."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}], "smooth": [{"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}], "pictures": [{"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}], "Ore": [{"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}], "MIDIs": [{"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "visual": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "Marco was primarily active as a visual artist."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "replaces": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}], "l": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "So far Evelin Brosi."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "02", "sentence": "The result is a mix of several media."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "http://www.remcovanbladel.nl/"}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?"}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "Well, a little, two years, actually."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Really great stuff."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "What was the problem?"}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "-Not really, at least not in this case."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?"}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "-I do look at it as a solo thing."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "And I follow that."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Art is letting things go, let it flow\"."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control."}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "Or as a collage record?"}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "So more drone, definitely."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "06", "sentence": "aiming for the best of both worlds there."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "Until i tried it."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "It’s strangely hypnotizing."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "A sort of live coding."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "The conceptualization, the funding, the execution."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "20", "sentence": "URL: http://huellkurven.net"}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "Subcultures form through music."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "thesis in Mills College."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "thesis in Mills College."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "https://xpub.pzimediadesign.nl"}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "How much influence does it have on a community?"}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I did the same with coal."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "We can see layers of hematite."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "It created a vacuum after it closed."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "If you work against it, it will kill you."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "What shifts will we see?"}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "28", "sentence": "I apply filters, use electronics."}, {"id": "28", "sentence": "It’s a kind of sound alchemy."}, {"id": "28", "sentence": "All to get to the desired result: the gold!’"}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "31", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}, {"id": "34", "sentence": "Julian unfortunately died at young age."}, {"id": "34", "sentence": "Marco was primarily active as a visual artist."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Editors": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "looks": [{"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}], "still.": [{"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "On": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "31", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}], "oldest": [{"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}], "hah": [{"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "-You do it in short sessions, hah."}], "magnetite": [{"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}], "future.": [{"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "STEIM": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "Kinnunen": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "Necrofantasia": [{"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}], "Hoof": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}], "him": [{"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "discussed": [{"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}], "being": [{"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}], "culminating": [{"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}], "SCORES": [{"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "military": [{"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "Patrick": [{"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}], "activities": [{"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}], "Tilburg": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "media-technical": [{"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}], "published": [{"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}], "possibilities": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}], "wall": [{"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "21st-century": [{"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "etc": [{"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}], "dimensions": [{"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}], "choreographies": [{"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}], "page_id=5000": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}], "collage": [{"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "Or as a collage record?"}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}], "active": [{"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "34", "sentence": "Marco was primarily active as a visual artist."}], "clue": [{"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}], "tenuous": [{"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}], "Marc": [{"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "Marco was primarily active as a visual artist."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}], "se": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "The result is a mix of several media."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "-Not really, at least not in this case."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "-You do it in short sessions, hah."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Do you see this as a drone record?"}, {"id": "06", "sentence": "-If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Representing 3."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Good practise for the ears."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We can see layers of hematite."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "It created a vacuum after it closed."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "What shifts will we see?"}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "I apply filters, use electronics."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "Good food and drinks were served."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "two-player": [{"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}], "Silicon": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Political": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}], "night": [{"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}], "lecturer": [{"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}], "full": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?"}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}], "intuition": [{"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}], "Midas": [{"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}], "animations": [{"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}], "an": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "http://www.remcovanbladel.nl/"}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "Meaning a record."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?"}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?"}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control."}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "It’s strangely hypnotizing."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "This means animated notation."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "It is important for companies to manage this."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "We can see layers of hematite."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "Were they forced up North by circumstances?"}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "Julian unfortunately died at young age."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "Good food and drinks were served."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "German": [{"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}], "Line": [{"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}], "unfolding": [{"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}], "sonic": [{"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}], "inhabits": [{"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}], "options": [{"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}], "Flanders": [{"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "versions": [{"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}], "Anders": [{"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}], "signal": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "focusing": [{"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}], "games": [{"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "Keyboard": [{"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "yodel.": [{"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}], "teaching": [{"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}], "50": [{"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}], "placed": [{"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}], "internal": [{"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}], "rap": [{"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "undermined": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "directly": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}], "practise": [{"id": "22", "sentence": "Good practise for the ears."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}], "asserts": [{"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}], "festival": [{"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}], "truck": [{"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}], "spraying": [{"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}], "Sevenfold": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "We": [{"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "06", "sentence": "We first got in touch with Principium 1.0."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "Well, a little, two years, actually."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "We can see layers of hematite."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "Were they forced up North by circumstances?"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}], "incredible": [{"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}], "http": [{"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "http://www.remcovanbladel.nl/"}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "10", "sentence": "https://harddisko.ch"}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "19", "sentence": "https://en.wikipedia.org/wiki/Baton_(conducting"}, {"id": "20", "sentence": "URL: http://huellkurven.net"}, {"id": "21", "sentence": "https://monoskop.org/Concrete_poetry"}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "https://xpub.pzimediadesign.nl"}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "device…": [{"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}], "1926": [{"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}], "sound": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "It’s a kind of sound alchemy."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "Pfizer": [{"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}], "Pask": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "nor": [{"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}], "Focussing": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}], "29": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "ball": [{"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}], "projects": [{"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}], "inputs": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}], "Breaking": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "print": [{"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "effect": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "series": [{"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}], "33": [{"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "railway": [{"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}], "grow": [{"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "video-editing": [{"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}], "sleep": [{"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}], "uniform": [{"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}], "plucked": [{"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}], "creates": [{"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}], "partiture": [{"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}], "Ayas": [{"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}], "American": [{"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "color": [{"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "coal": [{"id": "28", "sentence": "I did the same with coal."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "unplayable": [{"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "Don": [{"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}], "ILDA": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}], "mechanised": [{"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}], "sylvite": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Casio": [{"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}], "common": [{"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "perception": [{"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}], "XY": [{"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}], "//github.com/macumbista/vectorsynthesis": [{"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "oral": [{"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}], "Roman": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "recorder": [{"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}], "Chamber": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "nowadays": [{"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}], "among": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}], "worked": [{"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}], "offer": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}], "23h": [{"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}], "-The": [{"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}], "Amazing": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "billboards": [{"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}], "linear": [{"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}], "When": [{"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}], "disturbances": [{"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "parts": [{"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}], "feed": [{"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "Xerox": [{"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}], "RYAN": [{"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}], "Council": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "Dancing": [{"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}], "Netherlands": [{"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "TV": [{"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "Adagio": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Mary": [{"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}], "War": [{"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "sharing": [{"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}], "Burning": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "originates": [{"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}], "static": [{"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "understanding": [{"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "Love": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}], "output": [{"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}], "normally": [{"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}], "transmutation": [{"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}], "immediately": [{"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}], "meeting": [{"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}], "puppet": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "shapes": [{"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}], "participatory": [{"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}], "write": [{"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "though": [{"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}], "Jonas": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "losing": [{"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}], "blackers": [{"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "Media": [{"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "Milan": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}], "Institutions": [{"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "ANA": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "pianos": [{"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "attract": [{"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}], "haunting": [{"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}], "land": [{"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "length": [{"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}], "artists": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "participating artists: WHO ?"}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "artists: WHO ?"}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}], "rests": [{"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}], "Dream": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}], "types": [{"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}], "Jamelia": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "JULIA": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}], "Art": [{"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "06", "sentence": "Art is letting things go, let it flow\"."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}], "packaging": [{"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}], "Software": [{"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}], "perceives": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}], "Synthesis": [{"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}], "filed": [{"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}], "thirteenth": [{"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}], "Sometimes": [{"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}], "liked": [{"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}], "rhythmic": [{"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}], "sine": [{"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "Bubbly": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Ana": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}], "because": [{"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "Disco": [{"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}], "renewed": [{"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}], "theorist": [{"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}], "psychological": [{"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}], "Quo": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Sandin": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}], "horrible": [{"id": "28", "sentence": "Sometimes this can go horrible wrong."}], "post": [{"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}], "broadcasts": [{"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}], "join": [{"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}], "tremolo": [{"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}], "Sámi": [{"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}], "matched": [{"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}], "Winnipeg": [{"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}], "remove": [{"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}], "drifting": [{"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}], "members": [{"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}], "nightmare..": [{"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}], "overthink": [{"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}], "differences": [{"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}], "presentation": [{"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}], "Well": [{"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "Well, a little, two years, actually."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "time..": [{"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}], "Zen": [{"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}], "Wrote": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "braunkohle": [{"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}], "continuous": [{"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}], "Morning": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "​​'cracked": [{"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}], "www.facebook.com/xpub.pietzwart": [{"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}], "straightforward": [{"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}], "turns": [{"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}], "au": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "reassembled": [{"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}], "official": [{"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}], "quality": [{"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}], "expert": [{"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}], "ut": [{"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "The conceptualization, the funding, the execution."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "dimensional": [{"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}], "archive": [{"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "Nordlichter": [{"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "Reinhold": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "nearly": [{"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}], "baton": [{"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}], "editorial": [{"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}], "Rozendaal/Luuk": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "those": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "-If you force me to choose between those two, then drone."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "extent": [{"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}], "credibility": [{"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}], "c.1962": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}], "per": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "thread": [{"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}], "then": [{"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "-If you force me to choose between those two, then drone."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "flattered": [{"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}], "Moana": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}], "instructions": [{"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}], "&": [{"id": "01", "sentence": "Sat, 14 & Sun."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "'conceptual": [{"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}], "creative": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}], "belong": [{"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "mining": [{"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Where does mining stop?"}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}], "ROTTERDAM": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "programmable": [{"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}], "impressive": [{"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}], "Often": [{"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}], "Writer": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "asteroid": [{"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "cheap": [{"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}], "1991-1993": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}], "Mills": [{"id": "22", "sentence": "thesis in Mills College."}, {"id": "23", "sentence": "thesis in Mills College."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}], "Get": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "participated": [{"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}], "Nicolas": [{"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}], "spatial": [{"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}], "Pedersen": [{"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}], "monastery": [{"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}], "soundtracks": [{"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}], "Up": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}], "Enschede": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "21-04-2017": [{"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}], "PA": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}], "utopian": [{"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}], "unique": [{"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}], "Colson": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}], "woke": [{"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}], "Anonymous": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "By": [{"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}], "amplified": [{"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "rendition": [{"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}], "focus": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "Museum": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}], "Bigger": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "19.Vector": [], "reflect": [{"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}], "generative": [{"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}], "2016–2017": [{"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}], "determines": [{"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}], "materialization": [{"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}], "actively": [{"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}], "serie": [{"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}], "connections": [{"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}], "early": [{"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}], "release": [{"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}], "rigid": [{"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}], "becoming": [{"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}], "form": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "Subcultures form through music."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "vacuum": [{"id": "28", "sentence": "It created a vacuum after it closed."}], "proces": [{"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}], "Mind": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "session": [{"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "06", "sentence": "-You do it in short sessions, hah."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}], "run": [{"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "mid-1980s": [{"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "Just": [{"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}], "reed": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}], "Pendulum": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "retro-for-retro": [{"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}], "DOB": [{"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "Vos": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "looking": [{"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}], "feminist": [{"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}], "Varia": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "ability": [{"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}], "grid": [{"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}], "phone": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}], "performers": [{"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}], "while": [{"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "sampled": [{"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}], "Arnold": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}], "confined": [{"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}], "thought": [{"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}], "singers": [{"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}], "ingenious": [{"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}], "black": [{"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}], "Noordt": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "auditory": [{"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}], "scan": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}], "ambient": [{"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}], "Use": [{"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}], "concert": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "signed": [{"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}], "sold": [{"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}], "continents": [{"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}], "'graphical": [{"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}], "Baxter": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "ownership": [{"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}], "publisher": [{"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}], "analytical": [{"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}], "Join": [{"id": "06", "sentence": "Join the community."}], "Julia": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "Julian unfortunately died at young age."}], "reproducibility": [{"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}], "period": [{"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}], "myth": [{"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}], "Anitation": [{"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}], "specialised": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}], "into": [{"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "KAHN": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}], "galleries": [{"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}], "relay": [{"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}], "//www.remcovanbladel.nl/": [{"id": "04", "sentence": "http://www.remcovanbladel.nl/"}], "Choir": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "int": [{"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "age": [{"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Or as a collage record?"}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "It is important for companies to manage this."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Julian unfortunately died at young age."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "places": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}], "1970s": [{"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}], "exhibition": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}], "me": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "The result is a mix of several media."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?"}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}, {"id": "06", "sentence": "And a statement.."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "-If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "This means animated notation."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "https://xpub.pzimediadesign.nl"}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I did the same with coal."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Vaasts": [{"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}], "ultimate": [{"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}], "single": [{"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "elements": [{"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "wherein": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}], "Delivery": [{"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}], "Ayo": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}], "closed": [{"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "It created a vacuum after it closed."}], "JoJo": [{"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}], "Gareth": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Pricipoium": [{"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}], "Fremdarbeit": [{"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}], "debut..": [{"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}], "powerful": [{"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}], "re": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "The result is a mix of several media."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "http://www.remcovanbladel.nl/"}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier'."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "Meaning a record."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Really great stuff."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "-Not really, at least not in this case."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "They’re just new pieces in their own right."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "Do you see this as a drone record?"}, {"id": "06", "sentence": "Or as a collage record?"}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "So more drone, definitely."}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "06", "sentence": "aiming for the best of both worlds there."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Representing 3."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "https://monoskop.org/Concrete_poetry"}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "Subcultures form through music."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "21", "sentence": "New generations are born."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Where does mining stop?"}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "You have to take a boat to get there."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "It created a vacuum after it closed."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "Were they forced up North by circumstances?"}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "28", "sentence": "All to get to the desired result: the gold!’"}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "Good food and drinks were served."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "reaction": [{"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}], "psycho-acoustic": [{"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}], "text-compositions": [{"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}], "narratives": [{"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}], "Shirasagi": [{"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}], "thousand": [{"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}], "intimate": [{"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}], "Lisa": [{"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}], "possibly": [{"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}], "travelling": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "homes": [{"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "thanks": [{"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "announcement": [{"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}], "worlds": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "06", "sentence": "aiming for the best of both worlds there."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}], "enlarged": [{"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}], "interface": [{"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}], "Interview": [{"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}], "Symphony": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "participating": [{"id": "14", "sentence": "participating artists: WHO ?"}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}], "designers": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "details": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}], "musical": [{"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "Visual": [{"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}], "companion": [{"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}], "collectives": [{"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}], "instruction": [{"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}], "method": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}], "Together": [{"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}], "experimenting": [{"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "met": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}], "Peppers": [{"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}], "UNTITLED": [{"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}], "rudimentary": [{"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "pioneers": [{"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}], "observed": [{"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}], "interest": [{"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "Martens": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}], "There": [{"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}], "recordings": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "Perhaps": [{"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}], "stop": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "28", "sentence": "Where does mining stop?"}], "Though": [{"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "tuned": [{"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}], "populated": [{"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}], "conception": [{"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}], "Bunton": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "materials": [{"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}], "them.": [{"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}], "correct": [{"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}], "Changes": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "development": [{"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}], "+": [{"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "slag": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}], "crystals": [{"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}], "feat": [{"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}], "interconnections": [{"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}], "reciprocal": [{"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}], "democratic": [{"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}], "non-verbal": [{"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}], "eventually": [{"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}], "Grøn": [{"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}], "67P/Churyumov–Gerasimenko": [{"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}], "extremis": [{"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}], "With": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "visits": [{"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}], "digitalcraft": [{"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}], "relation": [{"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "MgO": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Hearts": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "metres": [{"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}], "done": [{"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "geological": [{"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}], "filmscreening": [{"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}], "Larrikin": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "witnesses": [{"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "office": [{"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}], "modernist": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}], "phi0978.phi001.perseus-eng1:33.1": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "Bergen": [{"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}], "ensemble": [{"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}], "Now": [{"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "William": [{"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "heart": [{"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}], "variable": [{"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}], "Bob": [{"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "homage": [{"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}], "Bischoff": [{"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "switches": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}], "travelled": [{"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}], "self-structuring": [{"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}], "Serge": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}], "p.34": [{"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "latinLit": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "operate": [{"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}], "headphones": [{"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}], "philosophy": [{"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}], "real-time": [{"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}], "Staal": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "edited": [{"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "dancer": [{"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}], "controllable": [{"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}], "feeds": [{"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}], "Steina": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "Fe": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}], "since": [{"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "Chemical": [{"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Arnaud": [{"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}], "Technology": [{"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}], "bits": [{"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}], "JAKOBSON": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}], "continually": [{"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}], "extract": [{"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "questions": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}], "Fengjastrútur": [{"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}], "energy": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "designing": [{"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}], "recording": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "Artkillart": [{"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}], "dots": [{"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}], "influence": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "28", "sentence": "How much influence does it have on a community?"}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "swarms": [{"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "Bring": [{"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "expressive": [{"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "avoid": [{"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}], "musically": [{"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}], "Yann": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}], "controlled": [{"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}], "English-language": [{"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "stand": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "ORE.": [{"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}], "Untitled": [{"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}], "2012": [{"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}], "transitioned": [{"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "easily": [{"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}], "random": [{"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "fragments": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}], "Gert-Jan": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "Julian": [{"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "Julian unfortunately died at young age."}], "2-3": [{"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}], "Anne-Mie": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "'other": [{"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}], "unexpected": [{"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}], "beam": [{"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "forsooth": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "15:00hrs": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}], "Xenakis": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "dismissed": [{"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}], "2011": [{"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "show.": [{"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "Kees": [{"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}], "colossal": [{"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "broadcasting": [{"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "people": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}], "regularly": [{"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}], "store": [{"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}], "casts": [{"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}], "Transylvania": [{"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}], "retain": [{"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}], "i.c.w": [{"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}], "behind-the-scenes": [{"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "BERGMARK": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}], "Na2O": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Aux": [{"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "best": [{"id": "01", "sentence": "His best ones."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "aiming for the best of both worlds there."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "transparent": [{"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}], "conditions": [{"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}], "Dog": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "bauxite": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "territory": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}], "inventions": [{"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}], "corresponding": [{"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}], "discards": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}], "disappearance": [{"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}], "widely": [{"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}], "%": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Affect": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "occasionally": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "continuïty": [{"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}], "instead": [{"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}], "makers": [{"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}], "recorded": [{"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}], "sorts": [{"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}], "polyphonic": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}], "important": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "It is important for companies to manage this."}], "hrs": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}], "complete": [{"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "The system was therefore completely stuck."}], "contemplation": [{"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}], "desolate": [{"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}], "irregular": [{"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}], "VANHOOF": [{"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}], "'em": [{"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "Siobhan": [{"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}], "|": [{"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "years": [{"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Well, a little, two years, actually."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}], "connect": [{"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}], "decide": [{"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}], "similar": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}], "Blue": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Transformation": [{"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}], "horizon": [{"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}], "compositions": [{"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "Calabria": [{"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}], "combination": [{"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "harshness": [{"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}], "self-education": [{"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}], "meaning": [{"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "ice": [{"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}], "cooperation": [{"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}], "vibratory": [{"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}], "low-wage": [{"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}], "concrete": [{"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "minus": [{"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}], "reminded": [{"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}], "keys": [{"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "phase": [{"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "Always": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Curvy": [{"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}], "To": [{"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "marginalised": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}], "revolves": [{"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}], "sourcebook": [{"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}], "vulnerable": [{"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}], "words": [{"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}], "initiative": [{"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}], "encountering": [{"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}], "surroundings": [{"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}], "Booty": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "techniques": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}], "explained": [{"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "analogue": [{"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}], "consider": [{"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}], "twelve": [{"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}], "'presence": [{"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}], "Canon": [{"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}], "labelled": [{"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}], "definitely": [{"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "So more drone, definitely."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}], "another": [{"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}], "Graphite": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "playback": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}], "neumens": [{"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}], "technique": [{"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}], "Caput": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "obviously": [{"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}], "Potter": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Innovation": [{"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "indeed": [{"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}], "melody": [{"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}], "room": [{"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}], "menace": [{"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}], "attention": [{"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "AU": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}], "holes": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "symbolise": [{"id": "28", "sentence": "Those recordings symbolise the stasis of time."}], "minute": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}], "Nam": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "predictable": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}], "sonification": [{"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}], "//www.deplayer.nl/releases/dob079": [{"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}], "tempel": [{"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}], "paste": [{"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}], "mutually": [{"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}], "related": [{"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "Deterministic": [{"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}], "transformation": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}], "aren": [{"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}], "Laetitia": [{"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}], "Publication": [{"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}], "unfolds": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}], "toys": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "Shots": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "analogous": [{"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "Rafaël": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "doubting": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}], "frequency": [{"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}], "shortly": [{"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "Jan": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}], "CITG": [{"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}], "her": [{"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "aiming for the best of both worlds there."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "Where does mining stop?"}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "You have to take a boat to get there."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "exciting": [{"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}], "Bringing": [{"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}], "Composers": [{"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}], "College": [{"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "22", "sentence": "thesis in Mills College."}, {"id": "23", "sentence": "thesis in Mills College."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}], "researching": [{"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}], "Fine": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Along": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "selection": [{"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}], "Anything": [{"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}], "equipment": [{"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "functioned": [{"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}], "studios": [{"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}], "aesthetic": [{"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "Arrows": [{"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "using": [{"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "close": [{"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "It created a vacuum after it closed."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}], "Destination": [{"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}], "offered": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}], "filmmaking": [{"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}], "ambition": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}], "integration": [{"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}], "misconception": [{"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}], "cases": [{"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}], "Pi": [{"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "colourful": [{"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}], "ch": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "We first got in touch with Principium 1.0."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "-If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "10", "sentence": "https://harddisko.ch"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "How much influence does it have on a community?"}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "It’s a kind of sound alchemy."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "expression": [{"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "2009": [{"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}], "stuff": [{"id": "06", "sentence": "Really great stuff."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}], "2017": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}], "Building": [{"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}], "strings": [{"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}], "tenth": [{"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}], "almost": [{"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}], "infers": [{"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "exploration": [{"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}], "based": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "bring": [{"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}], "Miami": [{"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}], "Whole": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "1978": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}], "conveyed": [{"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}], "onorthodox": [{"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}], "colors": [{"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "actual": [{"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "Well, a little, two years, actually."}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "speaker": [{"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "derived/transformed": [{"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}], "Through": [{"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}], "Animation": [{"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}], "21:00hrs": [{"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}], "captures": [{"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}], "easier": [{"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}], "leader": [{"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}], "Richards3": [{"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}], "//www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin": [{"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}], "limited": [{"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "imagined": [{"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}], "Conservatorium": [{"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}], "Hackaday": [{"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "opinion": [{"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}], "Because": [{"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}], "Band": [{"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}], "reproductions": [{"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}], "thesis": [{"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "22", "sentence": "thesis in Mills College."}, {"id": "23", "sentence": "thesis in Mills College."}], "Academie": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "instruments": [{"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}], "future": [{"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "fraction": [{"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}], "went": [{"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}], "Nordic": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "encounters": [{"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "stands": [{"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "converts": [{"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}], "niobium": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "short": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?"}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "-You do it in short sessions, hah."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "Of": [{"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}], "2014": [{"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "experimentation": [{"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}], "winter": [{"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}], "afraid": [{"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}], "issue": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "merely": [{"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}], "About": [{"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Brecht": [{"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}], "Timbaland": [{"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}], "media": [{"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "The result is a mix of several media."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "https://xpub.pzimediadesign.nl"}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}], "Event": [{"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}], "do": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no."}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "How do you do that?"}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "-You do it in short sessions, hah."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?"}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "-I do look at it as a solo thing."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "I don’t know."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "Where does mining stop?"}, {"id": "28", "sentence": "How much influence does it have on a community?"}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "document": [{"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "killed": [{"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "-Kris": [{"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}], "South": [{"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "there.": [{"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "aiming for the best of both worlds there."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "You have to take a boat to get there."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}], "size": [{"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}], "specifically": [{"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}], "willing": [{"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}], "programme": [{"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}], "who": [{"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "included": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "sewing": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}], "PARA-PHONIC": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}], "concentrate": [{"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}], "Fuller": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "Got": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "phrase": [{"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}], "image": [{"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}], "Markus": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "doors": [{"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}], "Pavilion": [{"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}], "inserting": [{"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}], "Jetset": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "it.": [{"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "Until i tried it."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}], "sticker": [{"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}], "De": [{"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}], "corner": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}], "issues": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "reach": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}], "publicly-playable": [{"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}], "designer": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}], "make": [{"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "well-known": [{"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}], "Origins": [{"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "Silver": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "tonewheels": [{"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}], "cassiterite": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "GOURDON": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}], "tangibility": [{"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}], "dance": [{"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}], "Cry": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "Ca": [{"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "than": [{"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "cards": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "Me": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "06", "sentence": "Meaning a record."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}], "redefine": [{"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}], "their": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "They’re just new pieces in their own right."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "guided": [{"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}], "Autonomia": [{"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}], "multiplexed": [{"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}], "Pu-shi-ng-Sco-res": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}], "2015": [{"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}], "fjord": [{"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}], "extremely": [{"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "Keynote": [{"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "north": [{"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}], "Amy": [{"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}], "emulation": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}], "September": [{"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "Abuses": [{"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}], "v3": [{"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}], "man-made": [{"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}], "circular": [{"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}], "conducted": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}], "teaches": [{"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}], "performed.The": [], "bouncing": [{"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}], "means": [{"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "22", "sentence": "This means animated notation."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "goes": [{"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}], "immersive": [{"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}], "//bergmark.org": [{"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}], "fell": [{"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}], "Carl": [{"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}], "graphics": [{"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}], "could": [{"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "31", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}], "originators": [{"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}], "Cologne": [{"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}], "Since": [{"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}], "Chill": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "deal": [{"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "chronology": [{"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}], "trickster": [{"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}], "closely": [{"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}], "indicates": [{"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "shipped": [{"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}], "FUSINATO": [{"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "Sony": [{"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}], "economical": [{"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}], "proposed": [{"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}], "survive": [{"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}], "Tudor": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}], "GesammttkkunnsttMeshuggahhLaandtttt": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}], "execution.We": [], "compiling": [{"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}], "Seal": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "copier": [{"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier'."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}], "phonic": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}], "Dare": [{"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}], "passes": [{"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}], "Andrea": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "re-examined": [{"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}], "academy": [{"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}], "anticipate": [{"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}], "combines": [{"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "Iceland": [{"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}], "planes": [{"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}], "Theories": [{"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}], "TERRAIN": [{"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}], "Hurdy-gurdy": [{"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}], "lie": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "'musique": [{"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}], "microphone": [{"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}], "turn": [{"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}], "surfaces": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}], "has": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "leftover": [{"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}], "Chelsea": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "autonomous": [{"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}], "Boogie": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Rotterdam": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "Richards": [{"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}], "directors": [{"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}], "clocking": [{"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "fresh": [{"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}], "mechanic": [{"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}], "Bøtcher": [{"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}], "look": [{"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?"}, {"id": "06", "sentence": "-I do look at it as a solo thing."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}], "electronic": [{"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "I apply filters, use electronics."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "concept": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "The conceptualization, the funding, the execution."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "credit": [{"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}], "painstakingly": [{"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}], "09": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}], "Arts": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}], "predate": [{"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "Elliot": [{"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "instrumentalize": [{"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}], "Shakira": [{"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}], "consoles": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}], "nl": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "http://www.remcovanbladel.nl/"}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "27", "sentence": "https://xpub.pzimediadesign.nl"}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}], "analog": [{"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "mobile": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "subsequently": [{"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}], "092": [{"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}], "Jun": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}], "includes": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}], "Lieshout": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "Eyes": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Maxïmo": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "theme": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}], "Bear": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "deciding": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}], "continuously": [{"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}], "PARADISO": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}], "terms": [{"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}], "But": [{"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}], "listrænt": [{"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}], "windows": [{"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}], "Iron": [{"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "John": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}], "message": [{"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "context": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}], "'attitude": [{"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}], "Later": [{"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}], "Borrow": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Rotem-Stibbe": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "find": [{"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}], "Possibilities": [{"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}], "communities": [{"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}], "effectiveness": [{"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}], "anyway": [{"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}], "Street": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}], "Tetra": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}], "Indium": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "channel": [{"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "searching": [{"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}], "controller": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}], "mention": [{"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}], "given": [{"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "Sydvaranger": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}], "WHY": [{"id": "04", "sentence": "WHY???"}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}], "subjective": [{"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}], "Intersection": [{"id": "08", "sentence": "The Intersection part is where the initiatives gather."}], "slurry": [{"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}], "glissandi": [{"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "non-pulse": [{"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}], "somewhere": [{"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}], "boss": [{"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}], "collages": [{"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}], "Really": [{"id": "06", "sentence": "Really great stuff."}], "screaming": [{"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "Gourdon": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}], "gesture": [{"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "Xyears": [{"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}], "Vuksic": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "electric": [{"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "called": [{"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}], "quantums": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "book": [{"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "Natives": [{"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}], "subjects": [{"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}], "Methi": [{"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}], "rise": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "far": [{"id": "01", "sentence": "So far Evelin Brosi."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}], "doomed": [{"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}], "sic": [{"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "Subcultures form through music."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "hotspot": [{"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}], "foil": [{"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}], "SynthFont": [{"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "box": [{"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}], "resonance": [{"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}], "typically": [{"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}], "create": [{"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It created a vacuum after it closed."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}], "late": [{"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}], "states": [{"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}], "Freiburg": [{"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}], "effectively": [{"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "branches": [{"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}], "ran": [{"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "It’s strangely hypnotizing."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "might": [{"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}], "investigation": [{"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}], "Onomatopee": [{"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}], "improvise": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "guarantees": [{"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}], "overdetermined": [{"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}], "ironic": [{"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "spirit": [{"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "in": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "So far Evelin Brosi."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "Join the community."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "We first got in touch with Principium 1.0."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "Meaning a record."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no."}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "-Not really, at least not in this case."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "-You do it in short sessions, hah."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?"}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "-I do look at it as a solo thing."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "They’re just new pieces in their own right."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "06", "sentence": "Art is letting things go, let it flow\"."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "So more drone, definitely."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "06", "sentence": "aiming for the best of both worlds there."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "It’s strangely hypnotizing."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "A sort of live coding."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "Sacrificing 2."}, {"id": "12", "sentence": "Representing 3."}, {"id": "12", "sentence": "Repeating 4."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "The conceptualization, the funding, the execution."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "participating artists: WHO ?"}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "https://en.wikipedia.org/wiki/Baton_(conducting"}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "thesis in Mills College."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "thesis in Mills College."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "TGC #3 fits right in."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Where does mining stop?"}, {"id": "28", "sentence": "How much influence does it have on a community?"}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "If you work against it, it will kill you."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "What shifts happened in the past?"}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "28", "sentence": "It’s a kind of sound alchemy."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}, {"id": "34", "sentence": "Good food and drinks were served."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "key": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "monumental": [{"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "Haan": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "scoring": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "four": [{"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}], "However": [{"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}], "allows": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}], "categories": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}], "soundtrack": [{"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}], "all": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "Well, a little, two years, actually."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "Really great stuff."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "-Not really, at least not in this case."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "procedure": [{"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "challenged": [{"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "obsolete": [{"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}], "flutes": [{"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}], "stream": [{"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}], "respect": [{"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}], "exist": [{"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "Chili": [{"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}], "096": [{"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "abroad": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}], "beginning": [{"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}], "Nine": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "SEQUENCER": [{"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}], "Has": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Dance": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}], "Strings": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Klangwerkstatt": [{"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}], "forty": [{"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}], "activity": [{"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "reconstruction": [{"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}], "skills": [{"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}], "SESSION": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}], "around": [{"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "turntables": [{"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}], "Wall": [{"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}], "V2": [{"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "Canadian": [{"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}], "20^th": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}], "Tantalum": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "fragile": [{"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}], "Scores": [{"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}], "Sun": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "Sat, 14 & Sun."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Sydney": [{"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "ephemera": [{"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}], "Hits": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}], "applications": [{"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}], "Jamie": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "anybody": [{"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}], "nessecary": [{"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}], "compression": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "Tempest": [{"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "together": [{"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "copyright": [{"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}], "mill.": [{"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}], "tantalum": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "executed": [{"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}], "Van": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "tónsmiða": [{"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}], "appeal": [{"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}], "past": [{"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "28", "sentence": "What shifts happened in the past?"}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}], "M.A": [{"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}], "stability": [{"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}], "Sveinbjarnardóttir": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "onto": [{"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}], "flip": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}], "punk": [{"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}], "Circular": [{"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}], "disciplines": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "wailing": [{"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "60s": [{"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}], "transporting": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}], "Rozendaal": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "Finland": [{"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}], "used": [{"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "Fall": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "incorporated": [{"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}], "instructed": [{"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "six": [{"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}], "Made": [{"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}], "1989": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}], "Like": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "consciously": [{"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}], "Riphagen": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "change": [{"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}], "diverse": [{"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}], "Dan": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}], "invisible": [{"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}], "Acceptable": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "shoot": [{"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "Steve": [{"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}], "Seasons": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "p=72": [{"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}], "Do": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}, {"id": "06", "sentence": "Do you see this as a drone record?"}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}], "acclaim": [{"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "spines": [{"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}], "enjoyable..": [{"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}], "processing": [{"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}], "presentations": [{"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}], "computers": [{"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "trapped": [{"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}], "haiku": [{"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}], "Steal": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "resolutely": [{"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "misdirected": [{"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "Chen": [{"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "roles": [{"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "Annette": [{"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}], "August": [{"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}], "planned": [{"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}], "inspired": [{"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}], "passage": [{"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "staff": [{"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}], "https": [{"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "10", "sentence": "https://harddisko.ch"}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "19", "sentence": "https://en.wikipedia.org/wiki/Baton_(conducting"}, {"id": "21", "sentence": "https://monoskop.org/Concrete_poetry"}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "27", "sentence": "https://xpub.pzimediadesign.nl"}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Here": [{"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}], "RAFAËL": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}], "2.0": [{"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}], "question": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}], "Lithium": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "attuned": [{"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}], "Belgium": [{"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}], "state": [{"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}, {"id": "06", "sentence": "And a statement.."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}], "consequence": [{"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}], "graphic/sculptural": [{"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}], "bunkers": [{"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "refers": [{"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}], "specific": [{"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}], "embodied": [{"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "communicated": [{"id": "21", "sentence": "The cultural identity is communicated with this."}], "email": [{"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}], "personal": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}], "poured": [{"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}], "fluxus": [{"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}], "low": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "And I follow that."}, {"id": "06", "sentence": "Art is letting things go, let it flow\"."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "Short": [{"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}], "former": [{"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "vocal": [{"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}], "Clock": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "spread": [{"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}], "Grenoble": [{"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}], "intuitive": [{"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}], "social": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "multi-instrumentalists": [{"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}], "unconventional": [{"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}], "Murmansk": [{"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "stereotypical": [{"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "sit": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "position."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "dedicated": [{"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}], "ok": [{"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?"}, {"id": "06", "sentence": "-I do look at it as a solo thing."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "unable": [{"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}], "Post-Repeating": [{"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}], "Matt": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "20th": [{"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "bold": [{"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}], "contact": [{"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}], "volume": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}], "vocalizing": [{"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}], "Tektronix": [{"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}], "blacker": [{"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "reality": [{"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}], "Mitterrand": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}], "business": [{"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "Artistically": [{"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}], "studies": [{"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}], "15": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "experimental": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}], "values": [{"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}], "Pong": [{"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}], "authorship": [{"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}], "science": [{"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}], "finished": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no."}], "Koopa": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Economy": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}], "effects": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}], "always": [{"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "nonsensical": [{"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}], "quite": [{"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "That is quite scary."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}], "websites": [{"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}], "St": [{"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "across": [{"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}], "predilection": [{"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}], "act": [{"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "06", "sentence": "Abstract poetry."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "Well, a little, two years, actually."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "22", "sentence": "Good practise for the ears."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "Marco was primarily active as a visual artist."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "world": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "06", "sentence": "aiming for the best of both worlds there."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "instrumental": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}], "a": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "So far Evelin Brosi."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "Sat, 14 & Sun."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "02", "sentence": "The result is a mix of several media."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "http://www.remcovanbladel.nl/"}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier'."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "Meaning a record."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "Abstract poetry."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?"}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "Well, a little, two years, actually."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Really great stuff."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "So that’s what happened."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "What was the problem?"}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "-Not really, at least not in this case."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "How do you do that?"}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "-You do it in short sessions, hah."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?"}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "-I do look at it as a solo thing."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "And I follow that."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control."}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "And a statement.."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "Do you see this as a drone record?"}, {"id": "06", "sentence": "Or as a collage record?"}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "06", "sentence": "Quite the contrary."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "06", "sentence": "aiming for the best of both worlds there."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "It’s strangely hypnotizing."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "10", "sentence": "https://harddisko.ch"}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "Sacrificing 2."}, {"id": "12", "sentence": "Repeating 4."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "The conceptualization, the funding, the execution."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "participating artists: WHO ?"}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "https://en.wikipedia.org/wiki/Baton_(conducting"}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "New generations are born."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Good practise for the ears."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "This means animated notation."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "artists: WHO ?"}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "https://xpub.pzimediadesign.nl"}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "How much influence does it have on a community?"}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I did the same with coal."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "It is important for companies to manage this."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "28", "sentence": "We can see layers of hematite."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "You have to take a boat to get there."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "It created a vacuum after it closed."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "If you work against it, it will kill you."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "That is quite scary."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "What shifts will we see?"}, {"id": "28", "sentence": "What shifts happened in the past?"}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "Were they forced up North by circumstances?"}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "28", "sentence": "I apply filters, use electronics."}, {"id": "28", "sentence": "It’s a kind of sound alchemy."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "31", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}, {"id": "34", "sentence": "Julian unfortunately died at young age."}, {"id": "34", "sentence": "Marco was primarily active as a visual artist."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}, {"id": "34", "sentence": "Good food and drinks were served."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "commissioned": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}], "Suede": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "basic": [{"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}], "glad": [{"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}], "lot": [{"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}], "renderings": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}], "Cyrus": [{"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "focusses": [{"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}], "mix": [{"id": "02", "sentence": "The result is a mix of several media."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "ART": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}], "filtered": [{"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}], "enthusiastic": [{"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}], "selections": [{"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}], "'spider": [{"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}], "height": [{"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}], "necessity": [{"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}], "considering": [{"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}], "studied": [{"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}], "Näätämö/Neiden": [{"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}], "electroacoustic": [{"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}], "Tonewheels": [{"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}], "Star": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "locations": [{"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}], "norm": [{"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}], "'Musical": [{"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}], "That": [{"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "That is quite scary."}], "notable": [{"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "Buckminster": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "rainbow": [{"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "e-flux": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "devices": [{"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "refining": [{"id": "28", "sentence": "I’m always processing and refining my field recordings."}], "often": [{"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}], "analyzing": [{"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}], "Know": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}], "colorful": [{"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}], "conductors": [{"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}], "named": [{"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "according": [{"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "Bed": [{"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}], "pop": [{"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "poisonous": [{"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}], "less": [{"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Kiem": [{"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}], "led": [{"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "DOUGLAS": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}], "Gawker": [{"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "Beuys": [{"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}], "morphing": [{"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}], "Reich": [{"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}], "1500": [{"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}], "James": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "pieces": [{"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "They’re just new pieces in their own right."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "80": [{"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "//www.newrafael.com": [{"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}], "Circle": [{"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}], "scale": [{"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}], "Throughout": [{"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}], "however": [{"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "lengths": [{"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}], "Hausswolff": [{"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}], "Affair": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Goudron": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "behavior": [{"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}], "detuning": [{"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}], "two-year": [{"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}], "blanks": [{"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}], "jive": [{"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}], "la": [{"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "http://www.remcovanbladel.nl/"}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "Or as a collage record?"}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "We can see layers of hematite."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "unlikely": [{"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}], "home": [{"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}], "Groothandelsgebouw": [{"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "flop": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}], "blending": [{"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}], "glassplate": [{"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}], "represent": [{"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "rough": [{"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "Subcultures form through music."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "axiomatic": [{"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}], "Europe": [{"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "field": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "2nd": [{"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}], "Fengler": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}], "white": [{"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}], "traditional": [{"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "law": [{"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}], "TheTrustedComputer": [{"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "presents": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "copier'": [{"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier'."}], "liverecordings": [{"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "Moment": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "desire": [{"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "28", "sentence": "All to get to the desired result: the gold!’"}], "Para-phonic": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}], "programmed": [{"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}], "Rumble": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "pasting": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}], "temporalities": [{"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}], "appropriation": [{"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "pigeons": [{"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}], "Dearest": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "realtime-controllable": [{"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}], "disturb": [{"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}], "plan": [{"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}], "other": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "Aid": [{"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}], "fiercely": [{"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}], "Happenings": [{"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}], "Park": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "'dialectic": [{"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}], "shaped": [{"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}], "zone": [{"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}], "receiver": [{"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "collaborates": [{"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}], "endurance": [{"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "overlaps": [{"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}], "affecting": [{"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "finest": [{"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}], "economic": [{"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}], "disturber": [{"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}], "softwares": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}], "untouched": [{"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}], "tradable": [{"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}], "As": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "Vectorian": [{"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "Theater": [{"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}], "inspiration": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}], "mythology": [{"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}], "2013": [{"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "TGC3": [{"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}], "Joy": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}], "silk": [{"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}], "master": [{"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}], "Nguyen": [{"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "Hot": [{"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}], "Super": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "DOB073": [{"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}], "Workshop": [{"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}], "Trying": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}], "standardized": [{"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "0.30": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "STRIPPED": [{"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}], "Development": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}], "Spoon": [{"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}], "no": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no."}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "-Not really, at least not in this case."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "I don’t know."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "It’s strangely hypnotizing."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "https://monoskop.org/Concrete_poetry"}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "This means animated notation."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "great": [{"id": "06", "sentence": "Really great stuff."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}], "schematics": [{"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}], "uses": [{"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "chapter": [{"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}], "Let": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "imprudently": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}], "Caribbean": [{"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}], "systems": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}], "scream": [{"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "Frith": [{"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "cut-up": [{"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}], "Chain": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "12-vinyl": [{"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}], "Eckehard": [{"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}], "printing": [{"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}], "consists": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}], "splicing": [{"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}], "European": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}], "dynamic": [{"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "Elvis": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}], "Valentia": [{"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "phones": [{"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}], "Maciunas": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}], "kullbingen": [{"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}], "handcraft": [{"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}], "7th": [{"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}], "emptiness": [{"id": "24", "sentence": "emptiness has that same relation with notation."}], "evening": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "way": [{"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "spoken": [{"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}], "Ending": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Ireland": [{"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "spontaneous": [{"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}], "section": [{"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}], "17": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}], "Mal": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "chiptune": [{"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "now": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "I don’t know."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}], "representatives": [{"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}], "TMIDI": [{"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "amplify": [{"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}], "processor": [{"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}], "California-based": [{"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "Brookhaven": [{"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}], "registers": [{"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}], "compensation": [{"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}], "Lissajous": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}], "Tcherepnin": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}], "emissions": [{"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}], "placing": [{"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}], "Feb": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "enhance": [{"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}], "living": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}], "family": [{"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}], "costumer": [{"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}], "work/action": [{"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}], "TELCOSYSTEMS": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}], "tons": [{"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}], "political": [{"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Brothers": [{"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "writings": [{"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}], "PINKIE": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}], "hope": [{"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}], "viewer": [{"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}], "booklet": [{"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}], "April": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}], "coding": [{"id": "10", "sentence": "A sort of live coding."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}], "MATA": [{"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "confines": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}], "Wales": [{"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "Sugar": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "underground": [{"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}], "Italian": [{"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}], "kitchen": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "Dutch": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}], "Arnhem": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}], "vibrations": [{"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "Low": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "fits": [{"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "27", "sentence": "TGC #3 fits right in."}], "technologies": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}], "monitors": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}], "political-economical": [{"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}], "know": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "I don’t know."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "runtime": [{"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}], "impossibilities": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}], "Antwerpen": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "machines": [{"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}], "choices": [{"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}], "cracking": [{"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}], "have": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?"}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "28", "sentence": "How much influence does it have on a community?"}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "You have to take a boat to get there."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "redesigned": [{"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}], "decoupling": [{"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "Video": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}], "Sunblock": [{"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}], "Rather": [{"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}], "carefully": [{"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}], "festivals": [{"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "indicate": [{"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}], "1963": [{"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "c. 1963"}], "Bobby": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "//www.slowempty.com/": [{"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}], "HILKMANN": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "Morton": [{"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}], "Principium": [{"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "We first got in touch with Principium 1.0."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}], "catastrophic": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "They": [{"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "06", "sentence": "They’re just new pieces in their own right."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}], "animated": [{"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "22", "sentence": "This means animated notation."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}], "//xpub.pzimediadesign.nl": [{"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "27", "sentence": "https://xpub.pzimediadesign.nl"}], "copy": [{"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}], "intently": [{"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}], "//vimeo.com/151283154": [{"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}], "layer": [{"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We can see layers of hematite."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "17.00": [{"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}], "Road": [{"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}], "bigger": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}], "gather": [{"id": "08", "sentence": "The Intersection part is where the initiatives gather."}], "content": [{"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}], "Sunshine": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "zoos": [{"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "Los": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}], "Reijnoudt": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "deck": [{"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}], "Touhou": [{"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}], "Avenged": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "lepidolite": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Universal": [{"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "logic": [{"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}], "choreographically": [{"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}], "poetic": [{"id": "06", "sentence": "Don’t know, it just rang poetic to me."}], "Oscilloscope": [{"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}], "irrelevance": [{"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}], "films": [{"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}], "G": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "Good practise for the ears."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "TGC #3 fits right in."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Good food and drinks were served."}], "Enemy": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}], "identify": [{"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}], "ephemeral": [{"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}], "learning": [{"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}], "wealth": [{"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}], "Orm": [{"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}], "micro-capacitors": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "tell": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}], "console": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}], "1973": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "80s": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "up": [{"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "Were they forced up North by circumstances?"}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "Floris": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}], "10": [{"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}], "sterile": [{"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}], "Gaudino": [{"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}], "Remörk": [{"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}], "sort": [{"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "10", "sentence": "A sort of live coding."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}], "fly": [{"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}], "de/nl": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Some": [{"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}], "going": [{"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "enlarge": [{"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}], "on": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "His best ones."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier'."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?"}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no."}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "-You do it in short sessions, hah."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?"}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "I don’t know."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "Do you see this as a drone record?"}, {"id": "06", "sentence": "-If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "06", "sentence": "Quite the contrary."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "So more drone, definitely."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "The conceptualization, the funding, the execution."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "https://en.wikipedia.org/wiki/Baton_(conducting"}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "https://monoskop.org/Concrete_poetry"}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "New generations are born."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "This means animated notation."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "How much influence does it have on a community?"}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "28", "sentence": "I apply filters, use electronics."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "position."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "piece": [{"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "End of piece."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?"}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "They’re just new pieces in their own right."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}], "shooter": [{"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}], "'Onomatopee": [{"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}], "20:30hrs": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}], "ancient": [{"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "0.053mm": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "material": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "Nelly": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "sun": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "Blag": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "records..": [{"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}], "mentioned": [{"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}], "manageable": [{"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}], "guideline": [{"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}], "0.01": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Koninklijk": [{"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}], "programmer": [{"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}], "researches": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}], "Rivière": [{"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}], "Navajo": [{"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}], "Searching": [{"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}], "banal": [{"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "narrative": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}], "sol": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "-I do look at it as a solo thing."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "-If": [{"id": "06", "sentence": "-If you force me to choose between those two, then drone."}], "directing": [{"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}], "observing": [{"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}], "Arachnes": [{"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}], "LIERMAN": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}], "abstract": [{"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "'game": [{"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}], "read": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "times": [{"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}], "Jason": [{"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "engineered": [{"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}], "wrongfully": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}], "lavender": [{"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "bart": [{"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}], "rhythmical": [{"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}], "teachers": [{"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "Obtrusive": [{"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}], "Hard-Fi": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "existed": [{"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "sung": [{"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}], "much": [{"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "How much influence does it have on a community?"}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Scarlet": [{"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}], "Crank": [{"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "octave": [{"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}], "Free": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "mellotron": [{"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}], "XPUBPiet": [{"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}], "Fratellis": [{"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Ben": [{"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}], "WITH": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}], "choose": [{"id": "06", "sentence": "-If you force me to choose between those two, then drone."}], "USA": [{"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}], "order": [{"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}], "Buchla": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}], "conceptual": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "The conceptualization, the funding, the execution."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "textures": [{"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}], "selecting": [{"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}], "Vaast": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}], "Nico": [{"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}], "Mathias": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}], "liberating": [{"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}], "Jörg": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}], "bodily": [{"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}], "trying": [{"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}], "due": [{"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "seek": [{"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}], "Pistols": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Ziegler": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "mi": [{"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "02", "sentence": "The result is a mix of several media."}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "aiming for the best of both worlds there."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Where does mining stop?"}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "relationships": [{"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}], "060": [{"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}], "compilation": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "wanted": [{"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}], "greater": [{"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}], "composed": [{"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "visualises": [{"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "LP": [{"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}], "Bon": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "greenhouse": [{"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "positive": [{"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}], "Seeley": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "limits": [{"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "differently": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}], "BENNETT": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}], "expressions": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "Husk": [{"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}], "seen": [{"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}], "identities": [{"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}], "argument": [{"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}], "core": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Davide": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}], "Eczema": [{"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}], "info": [{"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}], "brainwaves": [{"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}], "transducers": [{"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}], "serves": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}], "demonstrate": [{"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}], "sequentially": [{"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "Laposky": [{"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}], "Above": [{"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "searched": [{"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "tone": [{"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "joint": [{"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}], "Bank": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}], "web-based": [{"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}], "scores.Derek": [], "stages": [{"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}], "fa": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "So far Evelin Brosi."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "Ingólfsson": [{"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "focal": [{"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}], "12:00hrs": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "driving": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}], "Republic": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}], "exchange": [{"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}], "aural": [{"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "list": [{"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}], "negatively": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}], "Developed": [{"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}], "themes": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}], "broken": [{"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}], "PU-SHI-NG-SCO-RES": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "D.A.N.C.E": [{"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}], "moments": [{"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}], "Te": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "sucker": [{"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}], "running": [{"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Fluxus": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}], "barely": [{"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}], "arts": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "22": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}], "40": [{"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}], "pitches": [{"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}], "editions": [{"id": "05", "sentence": "The making of editions can be understood in this context."}], "principles": [{"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}], "logical": [{"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}], "Attali": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}], "tracing": [{"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}], "refocus": [{"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}], "magnetic": [{"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}], "opens": [{"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Kottke": [{"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "Henry": [{"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}], "opposite": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}], "Western": [{"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}], "Norway": [{"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}], "Groupe": [{"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}], "lapidary": [{"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "Devil": [{"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}], "but": [{"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}], "can": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?"}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We can see layers of hematite."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}], "helped": [{"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}], "complex": [{"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "out": [{"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "Saedier": [{"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}], "studenten": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Karina": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "mined": [{"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "are": [{"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier'."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "New generations are born."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "space": [{"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "put": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "Anthem": [{"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}], "noise-guitar": [{"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}], "Computer": [{"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "see": [{"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "Do you see this as a drone record?"}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We can see layers of hematite."}, {"id": "28", "sentence": "What shifts will we see?"}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}], "shifts": [{"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "28", "sentence": "What shifts will we see?"}, {"id": "28", "sentence": "What shifts happened in the past?"}], "brought": [{"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}], "took": [{"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}], "earning": [{"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}], "//huellkurven.net": [{"id": "20", "sentence": "URL: http://huellkurven.net"}], "Size": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "screen": [{"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}], "rendering": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "valorizes": [{"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "walls": [{"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "readings": [{"id": "28", "sentence": "Different types of stone give different frequency readings."}], "Foerster": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "rasterized": [{"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}], "collect": [{"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}], "Iannis": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "musicians": [{"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}], "methodology": [{"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}], "artworks": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}], "possibility": [{"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "S.L.Á.T.U.R": [{"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}], "top": [{"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "28", "sentence": "Where does mining stop?"}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}], "Shayne": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "labour": [{"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}], "1943": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}], "Mosconi": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}], "Time": [{"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "without": [{"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "Gilmour": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}], "fraternises": [{"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}], "humans": [{"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}], "copy-run": [{"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}], "failed": [{"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}], "feel": [{"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}, {"id": "06", "sentence": "I don’t feel this record has that."}], "ingredients": [{"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}], "press": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Second": [{"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "aim": [{"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "06", "sentence": "aiming for the best of both worlds there."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "richer": [{"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}], "functions": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}], "Summit": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "conductor": [{"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}], "guest": [{"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}], "hematite": [{"id": "28", "sentence": "We can see layers of hematite."}], "opportunity": [{"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}], "HOOF": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}], "rethinker": [{"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}], "months": [{"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}], "J": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "06", "sentence": "Join the community."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}, {"id": "34", "sentence": "Julian unfortunately died at young age."}], "strange": [{"id": "07", "sentence": "It’s strangely hypnotizing."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}], "tutor": [{"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}], "WHO": [{"id": "04", "sentence": "WHO???"}, {"id": "09", "sentence": "WHO???"}, {"id": "14", "sentence": "participating artists: WHO ?"}, {"id": "27", "sentence": "artists: WHO ?"}, {"id": "31", "sentence": "WHO ???"}], "1900": [{"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}], "Efron": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "electricity": [{"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "final": [{"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}], "electronics": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "I apply filters, use electronics."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "Its": [{"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "republished": [{"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}], "pare": [{"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier'."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "speech": [{"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}], "teacher": [{"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "perform": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "Zac": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "'deep": [{"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}], "available": [{"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}], "Benny": [{"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}], "Italy": [{"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}], "Úlfar": [{"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "had": [{"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}], "some": [{"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}], "Technische": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Minnesota": [{"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}], "algorithmic": [{"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}], "downloadable4–": [{"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}], "iconic": [{"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}], "revolutionized": [{"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}], "three": [{"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}], "recoding": [{"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}], "status": [{"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}], "Hang": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "yodeling": [{"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}], "Bites": [{"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}], "involved": [{"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "Romanticism": [{"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "Queens": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "sealed": [{"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}], "Jibbs": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "mirror": [{"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}], "gets": [{"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}], "death": [{"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}], "wanting": [{"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}], "traveled": [{"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}], "Hamburg": [{"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}], "guests": [{"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}], "Void": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}], "delicate": [{"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}], "improvised": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}], "connection": [{"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}], "Heerlen": [{"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}], "financial": [{"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}], "produces": [{"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}], "should": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "holders": [{"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}], "elementary": [{"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}], "He": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}], "model": [{"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}], "astonished": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "clients": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "believed": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "blackens": [{"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}], "initially": [{"id": "06", "sentence": "I think initially he wanted to do a tape."}], "wolframite": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Public": [{"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "T": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "02", "sentence": "The result is a mix of several media."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?"}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "They’re just new pieces in their own right."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control."}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "The conceptualization, the funding, the execution."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "This means animated notation."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "TGC #3 fits right in."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "That is quite scary."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "//www.deplayer.nl/releases/dob046-10-fersteinn": [{"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}], "minimal": [{"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}], "TDK": [{"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}], "research": [{"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "Radical": [{"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}], "involvement": [{"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}], "description": [{"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "arachnids": [{"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}], "one-note": [{"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}], "cuts": [{"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}], "Heinz": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "Valentina": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}], "Hunk": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "French": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}], "Century": [{"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}], "everchanging": [{"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}], "MIDIPlayer": [{"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "mine": [{"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}], "recreating": [{"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}], "taking": [{"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}], "turntable": [{"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}], "Then": [{"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}], "income": [{"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}], "yielding": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}], "randomly": [{"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "contribute": [{"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "Haraldsson.Silence": [], "'participatory": [{"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}], "China": [{"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}], "Linkin": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "summer": [{"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}], "sometimes": [{"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}], "0.08": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "good": [{"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}], "depending": [{"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}], "tried": [{"id": "07", "sentence": "Until i tried it."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}], "matrix": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}], "Montgermont": [{"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}], "weird": [{"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}], "Initially": [{"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}], "highlights": [{"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}], "elastic": [{"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}], "ever-evolving": [{"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}], "hard": [{"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "https://harddisko.ch"}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}], "'anitation": [{"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}], "abilities": [{"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}], "muted": [{"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}], "sticky": [{"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}], "shortwave": [{"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "ongoing": [{"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "FLOPPY": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}], "happy": [{"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}], "-Derek": [{"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}], "reminds": [{"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}], "atmosphere": [{"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}], "seventh": [{"id": "11", "sentence": "Later the seventh tone 'si' was added."}], "war": [{"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "intended": [{"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "Germanium": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "larger": [{"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}], "radio": [{"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "entirely": [{"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}], "//www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html": [{"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}], "network": [{"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}], "behind": [{"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "usual": [{"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}], "sheets": [{"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "trajectories": [{"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "Guedes": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "degree": [{"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}], "Which": [{"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}], "25": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}], "monster": [{"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}], "to": [{"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "We first got in touch with Principium 1.0."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?"}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "-If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "https://en.wikipedia.org/wiki/Baton_(conducting"}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "Where does mining stop?"}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "It is important for companies to manage this."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "You have to take a boat to get there."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "28", "sentence": "All to get to the desired result: the gold!’"}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Incorporated": [{"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}], "meant": [{"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}], "leaving": [{"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}], "countries": [{"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}], "interact": [{"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}], "Mineral": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "1": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Sat, 14 & Sun."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "We first got in touch with Principium 1.0."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "c. 1963"}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "Arduino-powered": [{"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}], "Spectral": [{"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "interaction": [{"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "driver": [{"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}], "array": [{"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}], "Barbie": [{"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}], "limit": [{"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "purely": [{"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}], "mistakes": [{"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}], "tba": [{"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}], "connects": [{"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}], "unceremoniously": [{"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "aforementioned": [{"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}], "send": [{"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}], "Kittler": [{"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}], "089": [{"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}], "eaten": [{"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "dubplate": [{"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}], "photovoltaics.": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "cash": [{"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}], "unchanged": [{"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "represents": [{"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}], "methods": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}], "metal": [{"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "develops": [{"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}], "hidden": [{"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "Vasukas": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}], "relevant": [{"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}], "sculpture": [{"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "Xenakis-esque": [{"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "DEREK": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}], "unknown": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}], "further": [{"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}], "Any": [{"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}], "DETUNING": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}], "launched": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}], "Kylie": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "2": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "12", "sentence": "Sacrificing 2."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "mailed": [{"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}], "mangled": [{"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}], "Babyshambles": [{"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}], "problematic": [{"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "hanging": [{"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}], "Synthesia": [{"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "Iraq": [{"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}], "Publishing": [{"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "Brianstorm": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "CRT": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}], "Aurelie": [{"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}], "Arctic": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}], "manufacturers": [{"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}], "courtesies": [{"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}], "Knowledge": [{"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}], "resources": [{"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}], "073": [{"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}], "Jessica": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Post-war": [{"id": "16", "sentence": "Post-war developments continued in this direction."}], "abandoned": [{"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "Alarm": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "sound-artists/composers": [{"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}], "Modernity": [{"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}], "2006": [{"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}], "gallium": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "during": [{"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}], "-With": [{"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}], "Palestine": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}], "Until": [{"id": "07", "sentence": "Until i tried it."}], "projected": [{"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}], "promise": [{"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}], "folding": [{"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}], "Bet": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "intact": [{"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}], "force": [{"id": "06", "sentence": "-If you force me to choose between those two, then drone."}, {"id": "28", "sentence": "Were they forced up North by circumstances?"}], "Cars": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "compose": [{"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}], "dawn": [{"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "Justice": [{"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}], "organic": [{"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "fundament": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}], "ordering": [{"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}], "interactive": [{"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}], "auditive": [{"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}], "changing": [{"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}], "engraved": [{"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}], "synthesis": [{"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "south": [{"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "extreme": [{"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "eleventh": [{"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}], "Cold": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}], "Crazy": [{"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "World": [{"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "speed": [{"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}], "Subcultures": [{"id": "21", "sentence": "Subcultures form through music."}], "Gordon": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "enormous": [{"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "magnets": [{"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}], "Architecture": [{"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}], "leave": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "communication": [{"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}], "when": [{"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "fairly": [{"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}], "York": [{"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}], "Sonifier": [{"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}], "aiming": [{"id": "06", "sentence": "aiming for the best of both worlds there."}], "visually": [{"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}], "upside": [{"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}], "Arezzo": [{"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}], "Samuel": [{"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}], "staged": [{"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}], "publising": [{"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "intricate": [{"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "'d": [{"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}], "destroys": [{"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}], "embed": [{"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}], "1981": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "videos": [{"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}], "weren": [{"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}], "Stefani": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "//www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz": [{"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}], "criteria": [{"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}], "themselves": [{"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}], "1999": [{"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}], "milli-seconds": [{"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}], "once-current": [{"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}], "cross-over": [{"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}], "8x12": [{"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}], "vertical": [{"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "born": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "21", "sentence": "New generations are born."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}], "category": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}], "Good": [{"id": "22", "sentence": "Good practise for the ears."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "34", "sentence": "Good food and drinks were served."}], "Apologize": [{"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}], "platter": [{"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "void": [{"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}], "cantorum": [{"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}], "Schematic": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}], "repeating": [{"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}], "hearing": [{"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}], "lack": [{"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}], "informed": [{"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}], "spaces": [{"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}], "simultaneous": [{"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "Kristoffer": [{"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}], "Cradle": [{"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}], "Alps": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Harris": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Jaðarber": [{"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}], "formal": [{"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "Black": [{"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}], "peculiarity": [{"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}], "flawed": [{"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}], "prophetic": [{"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}], "Stephen": [{"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}], "overlapping": [{"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}], "D": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Do you see this as a drone record?"}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}], "SOFTWARE": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}], "Nynne": [{"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}], "ear": [{"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Well, a little, two years, actually."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "Good practise for the ears."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}], "Need": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "heard": [{"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "MIDI": [{"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "discuss": [{"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}], "Mobil": [{"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}], "studio": [{"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}], "extraordinary": [{"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "image.event": [], "Quite": [{"id": "06", "sentence": "Quite the contrary."}], "audiofile": [{"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}], "unintentional": [{"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}], "Alvin": [{"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "Beginning": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Nelle": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "this": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "-Not really, at least not in this case."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Do you see this as a drone record?"}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "It is important for companies to manage this."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Placements": [{"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}], "help": [{"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}], "costs.": [{"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}], "holds": [{"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}], "Friedrich": [{"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "colour": [{"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}], "Lumidee": [{"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "refuses": [{"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}], "detected": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "detonation": [{"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}], "Doing": [{"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}], "Stadslimiet": [{"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}], "fact": [{"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}], "A": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "Abstract poetry."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "And I follow that."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "06", "sentence": "Art is letting things go, let it flow\"."}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "And a statement.."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "A sort of live coding."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "All to get to the desired result: the gold!’"}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "exposed": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "debut": [{"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}], "highly": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}], "realized": [{"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}], "Besides": [{"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}], "combinations": [{"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "origin": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "eg": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "thesis in Mills College."}, {"id": "23", "sentence": "thesis in Mills College."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}], "drying": [{"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}], "thing": [{"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "-I do look at it as a solo thing."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "06", "sentence": "Art is letting things go, let it flow\"."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "Institute": [{"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "xerox": [{"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}], "Arachne": [{"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}], "evenings": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}], "recherches": [{"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}], "dancers": [{"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}], "once": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "The conceptualization, the funding, the execution."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "nonetheless": [{"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}], "came": [{"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}], "Soundsystem": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Kuro": [{"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}], "Clothes": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "gained": [{"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}], "forcing": [{"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}], "Tinna": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "ORE": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "food": [{"id": "34", "sentence": "Good food and drinks were served."}], "Hilde": [{"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}], "lure": [{"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}], "MAX": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}], "interweaving": [{"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}], "Navid": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "forget": [{"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}], "Class": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "floppydrive": [{"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}], "appointment": [{"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}], "documenting": [{"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}], "two": [{"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "Well, a little, two years, actually."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "-If you force me to choose between those two, then drone."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}], "Out": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "Piksel": [{"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}], "Al2O3": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "scratched": [{"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "solfège": [{"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}], "AEX": [{"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}], "transform": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}], "Baby": [{"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}], "Break": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "respond": [{"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}], "Tyfus": [{"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}], "December": [{"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}], "interferometry": [{"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}], "re-use": [{"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}], "Those": [{"id": "28", "sentence": "Those recordings symbolise the stasis of time."}], "setups": [{"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}], "collaborating": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}], "toying": [{"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}], "contrast": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}], "we-make-money-not-art.com": [{"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}], "interpretable": [{"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}], "ruled": [{"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}], "cutting": [{"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}], "assisting": [{"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}], "Moving": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}], "let": [{"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "Art is letting things go, let it flow\"."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "Still": [{"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}], "evolving": [{"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}], "interpret": [{"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}], "harmonies": [{"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}], "Kunsthal": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "created": [{"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It created a vacuum after it closed."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}], "displacement": [{"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "increasingly": [{"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}], "engaged": [{"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}], "van": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "http://www.remcovanbladel.nl/"}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "poem": [{"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}], "echoed": [{"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}], "situations": [{"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}], "keeps": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}], "interwoven": [{"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}], "Ch": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "Uses": [{"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}], "Noise": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}], "seminar": [{"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}], "completed": [{"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}], "Singer": [{"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "doesn": [{"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}], "2019": [{"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "Fusinato": [{"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Over": [{"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}], "consisting": [{"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}], "that": [{"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "So that’s what happened."}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "How do you do that?"}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "And I follow that."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Project": [{"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}], "aspect": [{"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}], "controls": [{"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}], "initiated": [{"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}], "spodumene": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Drip": [{"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}], "Junior": [{"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}], "thinking": [{"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}], "translation": [{"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}], "thick": [{"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "Tiesto": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "vries": [{"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}], "pairs": [{"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}], "friend": [{"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "radical": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}], "scola": [{"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}], "broader": [{"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}], "Valentino": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "affirming": [{"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "quote": [{"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}], "reinterpret": [{"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}], "comparisons": [{"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}], "micro": [{"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "NIEK": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "Vanhoof": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}], "entire": [{"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "recordstore": [{"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}], "about": [{"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}], "Marclay": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}], "Dark": [{"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}], "//macumbista.net/": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}], "tunnel": [{"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}], "Are": [{"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "centred": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}], "dummy": [{"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}], "mass": [{"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}], "sensual": [{"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}], "Canada": [{"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}], "Boxes": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "boom": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}], "younger": [{"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}], "'ve": [{"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}], "dissatisfied": [{"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}], "Tata": [{"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "Dykeenies": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "stories": [{"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}], "manifesto": [{"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}], "tremble": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "points": [{"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}], "de": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "http://www.remcovanbladel.nl/"}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "So more drone, definitely."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "https://xpub.pzimediadesign.nl"}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "All to get to the desired result: the gold!’"}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "America": [{"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "remix": [{"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "Shayna": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "ten": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "States": [{"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "fought": [{"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}], "Forever": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "range": [{"id": "07", "sentence": "It’s strangely hypnotizing."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}], "submit": [{"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}], "beneath": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "propensity": [{"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "lifted": [{"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}], "country": [{"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}], "basements": [{"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "stressed": [{"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}], "scripture": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}], "species": [{"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}], "re-vegetation": [{"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}], "Fil": [{"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}], "developing": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}], "sheer": [{"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}], "Graphic": [{"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "pulses": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}], "Travis": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Aloud": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "'WdW": [{"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}], "'m": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}], "Timisoara": [{"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "pauses": [{"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "second": [{"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "courses": [{"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}], "Anarchy": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "consonants": [{"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}], "maximum": [{"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}], "distribution": [{"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "EVP.John": [], "BUMA-STEMRA": [{"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}], "sent": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "12", "sentence": "Representing 3."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}], "string": [{"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}], "What": [{"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "What was the problem?"}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "What shifts will we see?"}, {"id": "28", "sentence": "What shifts happened in the past?"}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}], "umhverfis": [{"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}], "curves": [{"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}], "n't": [{"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "archiving": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "Long": [{"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}], "saying": [{"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}], "characterised": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}], "'Noise": [{"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}], "ethos": [{"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "Office": [{"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}], "layers": [{"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "We can see layers of hematite."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}], "Explorer": [{"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "outside": [{"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "Scherzinger": [{"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}], "funding": [{"id": "13", "sentence": "The conceptualization, the funding, the execution."}], "19:00hrs": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}], "muttering": [{"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}], "Mn": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "impact": [{"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}], "Ellis": [{"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "curating": [{"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}], "University": [{"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "yet": [{"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "Lumiere": [{"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}], "graphic": [{"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "Steinn": [{"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}], "instruments..": [{"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}], "making": [{"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "flux": [{"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}], "transcriptions": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "caverns": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "test": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}], "BLADEL": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}], "complexity": [{"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "Synthesizer": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}], "geologists": [{"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}], "sided": [{"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "mortal": [{"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "actuality": [{"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}], "shouldn": [{"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}], "crackles": [{"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}], "increased": [{"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}], "Faulkner": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "if": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "Sacrificing 2."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "What shifts will we see?"}, {"id": "28", "sentence": "What shifts happened in the past?"}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "vectors": [{"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}], "songs": [{"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "periodic": [{"id": "29", "sentence": "He also made periodic broadcasts from his own home."}], "its": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 fits right in."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "Rutt-Etra": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}], "UNI": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "On the spot, the audience could activate the UNI."}], "Red": [{"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}], "Official": [{"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}], "understand": [{"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "restrictions": [{"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}], "Eventually": [{"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}], "lautpoesie": [{"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}], "speculative": [{"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}], "amount": [{"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "allowed": [{"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}], "Dennis": [{"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}], "manifest": [{"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "Vleeshal": [{"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}], "were": [{"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "Good food and drinks were served."}], "mill": [{"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}], "pit": [{"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "frame": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "deterministic": [{"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}], "motion": [{"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}], "stylus": [{"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}], "'Pa-Ra-Di-So": [{"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}], "productive": [{"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}], "aura": [{"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "graphical": [{"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}], "Stereolab": [{"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}], "clear": [{"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}], "showed": [{"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}], "More": [{"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}], "models": [{"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}], "Albert-Ludwigs-Universität": [{"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}], "translated": [{"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}], "wizardry": [{"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}], "Karaoke": [{"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "NL": [{"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}], "Bologna": [{"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}], "grew": [{"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}], "s": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "So far Evelin Brosi."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "His best ones."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "02", "sentence": "The result is a mix of several media."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "We first got in touch with Principium 1.0."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "Abstract poetry."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?"}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "Well, a little, two years, actually."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Really great stuff."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "So that’s what happened."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no."}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Why so?"}, {"id": "06", "sentence": "What was the problem?"}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "-Not really, at least not in this case."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "-You do it in short sessions, hah."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "-I do look at it as a solo thing."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "They’re just new pieces in their own right."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "06", "sentence": "Art is letting things go, let it flow\"."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control."}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "And a statement.."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "Do you see this as a drone record?"}, {"id": "06", "sentence": "Or as a collage record?"}, {"id": "06", "sentence": "-If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "06", "sentence": "aiming for the best of both worlds there."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "It’s strangely hypnotizing."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "A sort of live coding."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "10", "sentence": "https://harddisko.ch"}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "Representing 3."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "participating artists: WHO ?"}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "https://en.wikipedia.org/wiki/Baton_(conducting"}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "https://monoskop.org/Concrete_poetry"}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "Subcultures form through music."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "21", "sentence": "New generations are born."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Good practise for the ears."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "This means animated notation."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "thesis in Mills College."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "thesis in Mills College."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "TGC #3 fits right in."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "artists: WHO ?"}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "https://xpub.pzimediadesign.nl"}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Where does mining stop?"}, {"id": "28", "sentence": "How much influence does it have on a community?"}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I did the same with coal."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "It is important for companies to manage this."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "28", "sentence": "We can see layers of hematite."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "It created a vacuum after it closed."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "If you work against it, it will kill you."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "That is quite scary."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "What shifts will we see?"}, {"id": "28", "sentence": "What shifts happened in the past?"}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "Were they forced up North by circumstances?"}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "28", "sentence": "I apply filters, use electronics."}, {"id": "28", "sentence": "It’s a kind of sound alchemy."}, {"id": "28", "sentence": "All to get to the desired result: the gold!’"}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "31", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "position."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}, {"id": "34", "sentence": "Marco was primarily active as a visual artist."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}, {"id": "34", "sentence": "Good food and drinks were served."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "documentary": [{"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}], "properly": [{"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}], "vitality": [{"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}], "environment": [{"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}], "SKAR": [{"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "what": [{"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "So that’s what happened."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}], "forced": [{"id": "28", "sentence": "Were they forced up North by circumstances?"}], "increasing": [{"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "engine": [{"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}], "life": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}], "Naturalis": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "motto": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}], "until": [{"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "adapters": [{"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}], "built": [{"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "Bowtie": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Higinbotham": [{"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}], "Bünnagel": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}], "relatively": [{"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}], "DOB094": [{"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}], "millions": [{"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "approached": [{"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}], "proposes": [{"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "1960s": [{"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}], "move": [{"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}], "interweaves": [{"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}], "Wars": [{"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "level": [{"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}], "role": [{"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}], "Best": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "beyond": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}], "'si": [{"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}], "data.perseus.org/citations/urn": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "condition": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}], "vanished": [{"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "1985": [{"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}], "down": [{"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}], "easy": [{"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}], "Directorate": [{"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}], "year": [{"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Well, a little, two years, actually."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}], "pattern": [{"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "'ti": [{"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}], "Were": [{"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "28", "sentence": "Were they forced up North by circumstances?"}], "Maiden": [{"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "Filmmaker": [{"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}], "central": [{"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "apartment": [{"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "site": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}], "emphasizing": [{"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}], "Bleed": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "markers": [{"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}], "creation": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "major": [{"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "Source": [{"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "ended": [{"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}], "problem": [{"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "What was the problem?"}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "Dagger": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "angle": [{"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}], "newly": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}], "Lierman": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}], "deep": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "LAFMS": [{"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}], "try": [{"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "06", "sentence": "Abstract poetry."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "https://monoskop.org/Concrete_poetry"}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}], "Japan": [{"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "JUBILEE": [{"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}], "consumer": [{"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}], "Cushh": [{"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "May": [{"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "remoteness": [{"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}], "outsourcing": [{"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}], "MIDITrail": [{"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "boring": [{"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}], "Did": [{"id": "06", "sentence": "Did I mention I tend to overthink things?"}], "putting": [{"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}], "digital": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "Georgia": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "pushing": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "Image": [{"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}], "mountain": [{"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "be": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "His best ones."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "-If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "06", "sentence": "aiming for the best of both worlds there."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}], "well": [{"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "Vectrex": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}], "arranged": [{"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}], "departure": [{"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}], "fiction": [{"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}], "Gwen": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "empty": [{"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}], "3": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Representing 3."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "c. 1963"}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "TGC #3 fits right in."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "fields": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "conflictual": [{"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "film": [{"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "draw": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "and/or": [{"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "www.helgajakobson.com": [{"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}], "take": [{"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "You have to take a boat to get there."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "sixties": [{"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}], "Hilkmann": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}], "greatly": [{"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}], "Spahlinger": [{"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}], "don": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "I don’t know."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}], "lifestyle": [{"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}], "generate": [{"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}], "screens": [{"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}], "concrète": [{"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}], "harvested": [{"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}], "avant": [{"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "score": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Kampen": [{"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}], "geophones": [{"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}], "Magnetic": [{"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "Magnetic tape was the medium of my youth."}], "//macumbista.net": [{"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}], "camera": [{"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}], "infinite": [{"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}], "recognize": [{"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}], "Make": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "didactic": [{"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}], "chosen": [{"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "Hiele": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}], "support": [{"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}], "wants": [{"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}], "found": [{"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "band/art": [{"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}], "lathe": [{"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}], "founding": [{"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}], "Based": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "scales": [{"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}], "ROZENDAAL": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}], "burned": [{"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}], "ago": [{"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "Step": [{"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}], "na": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "It is important for companies to manage this."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "Julian unfortunately died at young age."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "air": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "hard-": [{"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}], "government": [{"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}], "Using": [{"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}], "composition": [{"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "combining": [{"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}], "Trilogy": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Luv": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "background": [{"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "aan": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "spinning": [{"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}], "claim": [{"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "Thirteen": [{"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}], "examine": [{"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}], "purpose": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}], "rare": [{"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}], "explorative": [{"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "metaphor": [{"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}], "object": [{"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "Nixon": [{"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}], "ordered": [{"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}], "sizes": [{"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "Calm": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Nicole": [{"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}], "centre": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}], "physical": [{"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "Trans-acoustic": [{"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}], "somehow": [{"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}], "publishing": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}], "installed": [{"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "releases": [{"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}], "conceptually": [{"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}], "appearance": [{"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}], "largely": [{"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "facets": [{"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}], "reimagined": [{"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}], "yearly": [{"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}], "privately": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}], "maker": [{"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}], "pen": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "06", "sentence": "So that’s what happened."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "What shifts happened in the past?"}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "servant": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}], "introduce": [{"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}], "location": [{"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "Before": [{"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Sunfreakz": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "designed": [{"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}], "desired": [{"id": "28", "sentence": "All to get to the desired result: the gold!’"}], "becomes": [{"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "DENOTING": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}], "frustrates": [{"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}], "long": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "classical": [{"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}], "expectation": [{"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}], "performing": [{"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}], "Director": [{"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "haiku-like": [{"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}], "pulse": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}], "Oct": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}], "68": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Research": [{"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}], "apparatus": [{"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}], "THE": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "Rowan": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "considered": [{"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}], "notion": [{"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "77": [{"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "Emeritus": [{"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "legal": [{"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "witchcraft": [{"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}], "2313": [{"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}], "Jakobson": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}], "generated": [{"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}], "NO": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "prints": [{"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}], "Backfire": [{"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}], "magnet": [{"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}], "hip": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "experience": [{"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}], "ongoingness": [{"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}], "chemicals": [{"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}], "arpeggios": [{"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "-Ana": [{"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}], "sleeves": [{"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}], "album": [{"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}], "few": [{"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}], "Prins": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "July": [{"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}], "Whether": [{"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}], "artistic": [{"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Huellkurven": [{"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}], "visible": [{"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}], "co-curates": [{"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}], "Beware": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "//www.kreidler-net.de": [{"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}], "Pierre": [{"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}], "gave": [{"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}], "Justin": [{"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}], "misuse": [{"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}], "soundproof": [{"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}], "popularity": [{"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "bit": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}], "owner": [{"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "processors": [{"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}], "hop": [{"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "M.": [{"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}], "Guide": [{"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "new..": [{"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}], "handle": [{"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "discarded": [{"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}], "Stuttering": [{"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "interventions": [{"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "Maffia": [{"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}], "mixing": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}], "sped": [{"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}], "Annie": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}], "regarded": [{"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}], "visited": [{"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}], "anime": [{"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "xenotime": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "interference": [{"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}], "Pinkie": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "most": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "enables": [{"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}], "Gates": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "million": [{"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}], "display": [{"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}], "BOWTIE//": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}], "commodity": [{"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}], "Review": [{"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}], "dated": [{"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "ArtEZ": [{"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}], "or": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "Meaning a record."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?"}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "-You do it in short sessions, hah."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "Do you see this as a drone record?"}, {"id": "06", "sentence": "Or as a collage record?"}, {"id": "06", "sentence": "-If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "So more drone, definitely."}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "06", "sentence": "aiming for the best of both worlds there."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "A sort of live coding."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "https://en.wikipedia.org/wiki/Baton_(conducting"}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "https://monoskop.org/Concrete_poetry"}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "Subcultures form through music."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "New generations are born."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Good practise for the ears."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "It is important for companies to manage this."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "If you work against it, it will kill you."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "Were they forced up North by circumstances?"}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}, {"id": "34", "sentence": "Julian unfortunately died at young age."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "loosen": [{"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}], "continues": [{"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}], "Sand": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "-century": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "earlier": [{"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}], "folkoristic": [{"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "participate": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}], "reveals": [{"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}], "builder": [{"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}], "snowfall": [{"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}], "records": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}], "non-profit": [{"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "authority": [{"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}], "selected": [{"id": "01", "sentence": "For every performance a different instrument has been selected."}], "slow": [{"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}], "//macumbista.netType": [], "animation": [{"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}], "investigative": [{"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}], "waveform": [{"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}], "Courteeners": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Delacourt": [{"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}], "depicting": [{"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "Gun": [{"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}], "regular": [{"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "//www.newcriticals.com/deep-mining-deep-time/page-3": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "signals": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "teach": [{"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}], "nuclear": [{"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}], "bad": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}], "incipience": [{"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}], "use": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "I apply filters, use electronics."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "Want": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "scholarly": [{"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}], "particular": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}], "vocation": [{"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}], "ones": [{"id": "01", "sentence": "His best ones."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "Cage": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}], "makes": [{"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}], "numerical": [{"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}], "bequeathed": [{"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}], "implementation": [{"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}], "communicate": [{"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}], "index": [{"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}], "Ping": [{"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}], "reveal": [{"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}], "According": [{"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "WHAT": [{"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}], "Børup": [{"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}], "possible": [{"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "Dancefloor": [{"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}], "paper": [{"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}], "Lennox": [{"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}], "mapped": [{"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}], "Douga": [{"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}], "search": [{"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "18": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "preserved": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "Pay2Print": [{"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "peer": [{"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}], "57th": [{"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}], "It": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "07", "sentence": "It’s strangely hypnotizing."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "It is important for companies to manage this."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "It created a vacuum after it closed."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "28", "sentence": "It’s a kind of sound alchemy."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "generators": [{"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}], "students": [{"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "participants": [{"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}], "engaging": [{"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "asked": [{"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}], "cybernetics": [{"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}], "microscopic": [{"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}], "Friends": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "local": [{"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}], "DE": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "intrigued": [{"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}], "invents": [{"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}], "Copperman": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "implosions": [{"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}], "Killers": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "engagement": [{"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}], "1960": [{"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}], "His": [{"id": "01", "sentence": "His best ones."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "ore.": [{"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}], "Grinder": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "decided": [{"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}], "hacking": [{"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}], "playable": [{"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "signature": [{"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}], "distils": [{"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}], "Shins": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}], "newspapers": [{"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}], "portable": [{"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "1977": [{"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}], "springs": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "Shoulder": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "acts": [{"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}], "prompting": [{"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}], "next": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "Universiteit": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "finally": [{"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}], "Pres": [{"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}], "perfectly": [{"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}], "Gnarls": [{"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "medium": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}], "..a": [{"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}], "multicultural": [{"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}], "women": [{"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "33-second": [{"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}], "least": [{"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "-Not really, at least not in this case."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "he": [{"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "02", "sentence": "The result is a mix of several media."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Join the community."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?"}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no."}, {"id": "06", "sentence": "What was the problem?"}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?"}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "They’re just new pieces in their own right."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control."}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "-If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "Quite the contrary."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "06", "sentence": "aiming for the best of both worlds there."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "The conceptualization, the funding, the execution."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Good practise for the ears."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "thesis in Mills College."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "thesis in Mills College."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Where does mining stop?"}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I did the same with coal."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "We can see layers of hematite."}, {"id": "28", "sentence": "You have to take a boat to get there."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "What shifts happened in the past?"}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "Were they forced up North by circumstances?"}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "28", "sentence": "It’s a kind of sound alchemy."}, {"id": "28", "sentence": "All to get to the desired result: the gold!’"}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "31", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "church": [{"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}], "Woody": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "2002": [{"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}], "oscillate": [{"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}], "study": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}], "S.L.Á.T.U.R.": [{"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}], "rhythm": [{"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}], "just": [{"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "They’re just new pieces in their own right."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}], "tetrahedrite": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Zürich": [{"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}], "experienced": [{"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}], "projections": [{"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}], "labor": [{"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "Manic": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}], "described": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "Jacques": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}], "Armageddon": [{"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}], "storage": [{"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}], "Coming": [{"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}], "Bute": [{"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}], "evolution": [{"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}], "own": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "They’re just new pieces in their own right."}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}], "representations": [{"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}], "metrostation": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}], "announcements": [{"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}], "strategy": [{"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}], "Vehicle": [{"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}], "lecture": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}], "Zone": [{"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "lend": [{"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "consent": [{"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "flushed": [{"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}], "contributed": [{"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "INFORMATIVE": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}], "Right": [{"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}], "spotlighted": [{"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "VAN": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}], "Czech": [{"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}], "Grandmother": [{"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}], "performer": [{"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "cassette": [{"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}], "150": [{"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}], "Telcosystems": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}], "70": [{"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}], "Charlotte": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "0.2": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "examples": [{"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}], "improv": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "Every": [{"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}], "S": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "So far Evelin Brosi."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "Sat, 14 & Sun."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "So that’s what happened."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "So more drone, definitely."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "Sacrificing 2."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "21", "sentence": "Subcultures form through music."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "prostitute": [{"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}], "ready": [{"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}], "sense": [{"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}], "card": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "playability/repeatability": [{"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}], "from": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "emotions": [{"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}], "2D": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}], "demo": [{"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}], "Þórðarsson": [{"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "WiFi": [{"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}], "invented": [{"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}], "Lasha": [{"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}], "floor": [{"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}], "Japanese": [{"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "DUPAC": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "open": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Zwart": [{"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}], "event": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "preparations": [{"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "Nadine": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "*": [{"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}], "Team": [{"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "Helsinki": [{"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "television": [{"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "MARTENS": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}], "language": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "LCD": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "factories": [{"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "does": [{"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "28", "sentence": "Where does mining stop?"}, {"id": "28", "sentence": "How much influence does it have on a community?"}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}], "special": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}], "absorbed": [{"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}], "they": [{"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "Were they forced up North by circumstances?"}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "JUSTIN": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}], "convinced": [{"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}], "Melanie": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "vehicle": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "standardised": [{"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}], "Gris": [{"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}], "-Julia": [{"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}], "Johnson": [{"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}], "1958": [{"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}], "impossible": [{"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "Keane": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "she": [{"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "Douglas": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "parameters": [{"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}], "Sreeuwenberg": [{"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}], "visuals": [{"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "part": [{"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "participating artists: WHO ?"}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}], "results": [{"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}], "Pushing": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}], "Chokehold": [{"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "Press": [{"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}], "by": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "Were they forced up North by circumstances?"}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "satisfying": [{"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "Pieces": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "extended": [{"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}], "of": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "The result is a mix of several media."}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "End of piece."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?"}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "aiming for the best of both worlds there."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "A sort of live coding."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "28", "sentence": "We can see layers of hematite."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "28", "sentence": "It’s a kind of sound alchemy."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "instrument-builder": [{"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}], "langbeinite": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Huelkorven": [{"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}], "fast-paced": [{"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "installations": [{"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}], "Empty": [{"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}], "DIY": [{"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}], "Again": [{"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "boundaries": [{"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}], "shy": [{"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}], "tgarde": [{"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}], "Amersfoort": [{"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}], "Four": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "marvelling": [{"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}], "perspective": [{"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}], "surrounding": [{"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}], "Nov": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "audio": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}], "control": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}], "Jordanaires": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}], "guy": [{"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "tracks": [{"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}], "mostly": [{"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}], "Meanwhile": [{"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}], "public": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "Chico": [{"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}], "knowledge": [{"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}], "contain": [{"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "tried-and-failed": [{"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}], "determining": [{"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}], "counterpoints": [{"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}], "technical": [{"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}], "recognition": [{"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}], "Brian": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "LINKS": [{"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}], "Anyway": [{"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}], "editing": [{"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}], "Ne-Yo": [{"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "promoting": [{"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}], "resistance": [{"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}], "François": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}], "duration": [{"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}], "agreed": [{"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}], "operation": [{"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}], "arriving": [{"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}], "resemble": [{"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}], "quo": [{"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}], "500": [{"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "lesser": [{"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}], "working": [{"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "rules": [{"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}], "Roberta": [{"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}], "chemist": [{"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}], "//monoskop.org/Concrete_poetryDE": [], "miss": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}], "ascending": [{"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}], "SiO2": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "point": [{"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "organization": [{"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "Design": [{"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}], "freely": [{"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}], "Atari": [{"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}], "Davis": [{"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "framed": [{"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "house": [{"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "companies": [{"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "It is important for companies to manage this."}], "Desecration": [{"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}], "drawn": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}], "mid-twentieth": [{"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}], "Finnendahl": [{"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}], "1980": [{"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "mortals": [{"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "laboratory": [{"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}], "BBC": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "Two": [{"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}], "anything": [{"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}], "cubic": [{"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}], "Reconstruction": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}], "poetry.George": [], "samples": [{"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}], "Emma": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Bang": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Maiguashca": [{"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}], "rhythms": [{"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}], "City": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "effort": [{"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}], "Rhythm": [{"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}], "town": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}], "intense": [{"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "Crash": [{"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "Serduchka": [{"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}], "conducting": [{"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "https://en.wikipedia.org/wiki/Baton_(conducting"}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}], "ethicsWe": [], "Platinum": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "ephemerality": [{"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}], "compressed": [{"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "spilling": [{"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "remarkable": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}], "would": [{"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}], "overwritable": [{"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}], "Bad": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}], "reader": [{"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}], "installational": [{"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}], "propositions": [{"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "line": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "Duo": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "Raspberry": [{"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}], "recognisable": [{"id": "06", "sentence": "Does this sound recognisable to you?"}], "existence": [{"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}], "label.Helga": [], "counterparts": [{"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "otherwise": [{"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}], "Tom": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "Esther": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "day": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}], "whatever": [{"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}], "Myers": [{"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}], "3D": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}], "two-stave": [{"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}], "provocative": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}], "dematerialization": [{"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}], "demonstration": [{"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}], "young": [{"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "34", "sentence": "Julian unfortunately died at young age."}], "sedimentologists": [{"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}], "These": [{"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}], "activated": [{"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}], "earth": [{"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}], "Despite": [{"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}], "felt": [{"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "lectures": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}], "cultural": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "stone": [{"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}], "biotope": [{"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}], "virtuosic": [{"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}], "ensuring": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}], "Book": [{"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Will": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "Reykjavík": [{"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}], "workshops": [{"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}], "exploring": [{"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}], "smart": [{"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}], "youth": [{"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "Magnetic tape was the medium of my youth."}], "reformulation": [{"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}], "groups": [{"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "Easy": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "principium": [{"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}], "outhouse": [{"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}], "awareness": [{"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}], "similarities": [{"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}], "project": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "Luuk": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "Beyonce": [{"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}], "underlies": [{"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}], "Pure": [{"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "Proclaimers": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "materialised": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}], "artwork": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}], "crazy": [{"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}], "sessions": [{"id": "06", "sentence": "-You do it in short sessions, hah."}], "-Piet": [{"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}], "interview": [{"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}], "situation": [{"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}], "loud": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}], "involving": [{"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "indeterministic": [{"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}], "geology": [{"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}], "Glasgow": [{"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "hated": [{"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}], "notated": [{"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}], "co-founder": [{"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}], "trains": [{"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "acoustic": [{"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}], "artificial": [{"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}], "Presented": [{"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}], "timelines": [{"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}], "Historia": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "dare": [{"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}], "Vegetable": [{"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}], "singularly": [{"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "voices": [{"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "Battle": [{"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "plate": [{"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}], "rockets": [{"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "signs": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "Verostko": [{"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}], "gold": [{"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "All to get to the desired result: the gold!’"}], "veins": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "four-in-a-row": [{"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}], "Manhattan": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}], "belief": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}], "Cruce": [{"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}], "theater": [{"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}], "commission": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}], "//ygourdon.net/": [{"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}], "board": [{"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "practical": [{"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}], "demands": [{"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}], "WE": [{"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}], "blue": [{"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}], "indicator": [{"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}], "count": [{"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "wrote": [{"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}], "live": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "A sort of live coding."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}], "Andrew": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Start": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "shit": [{"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}], "Beautiful": [{"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "name": [{"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "objects": [{"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "samtök": [{"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}], "decades": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}], "//www.deplayer.nl/releases/principium-20": [{"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}], "continue": [{"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}], "treat": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "ERA": [{"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "Angola": [{"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}], "oriented": [{"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}], "custom-built": [{"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "peculiar": [{"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}], "over": [{"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "Life": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "periphery": [{"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}], "Kimmy": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "intensity": [{"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "mind": [{"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}], "amateurs": [{"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}], "Musicales": [{"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}], "keen": [{"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "imaginary": [{"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "scripting": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "struggles": [{"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}], "paintwork": [{"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}], "student": [{"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "Than": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "and": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "Good food and drinks were served."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "I": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "-I do look at it as a solo thing."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "And I follow that."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "I don’t know."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "-If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "It’s strangely hypnotizing."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I did the same with coal."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "It is important for companies to manage this."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "It created a vacuum after it closed."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "If you work against it, it will kill you."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "28", "sentence": "I apply filters, use electronics."}, {"id": "28", "sentence": "It’s a kind of sound alchemy."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "purposes": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}], "mathematical": [{"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}], "tipped": [{"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}], "Biennale": [{"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "CCA": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}], "include": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}], "carrier": [{"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}], "Down": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Darmstädt": [{"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}], "Am": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "Rostock": [{"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}], "Technocultural": [{"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "Gon": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "copies": [{"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}], "border": [{"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}], "encounter": [{"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}], "Moholy": [{"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}], "Ylva": [{"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}], "Mar": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "Marco was primarily active as a visual artist."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}], "scontemporary": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}], "instrumentation": [{"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}], "Russia": [{"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}], "identity": [{"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "The style / genre determines the identity."}], "anxieties": [{"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}], "explosion": [{"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "Defne": [{"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}], "Feldman": [{"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}], "Lily": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "perspex": [{"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}], "through": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "Subcultures form through music."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "quietest": [{"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}], "wrangling": [{"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "jumpcuts": [{"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}], "Could": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "drawing": [{"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}], "physically": [{"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "Maynooth": [{"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "prototype": [{"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}], "complicated": [{"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}], "map": [{"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}], "Carlson": [{"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}], "IR2016": [{"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}], "check": [{"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}], "nonsense": [{"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}], "//www.bmbcon.demon.nl/justin/": [{"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}], "Defun": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "Nations": [{"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "audible": [{"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}], "spun": [{"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}], "Ecology": [{"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}], "David": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}], "waveforms": [{"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}], "here": [{"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "aiming for the best of both worlds there."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "Where does mining stop?"}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "You have to take a boat to get there."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "resulting": [{"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}], "processes": [{"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}], "hour": [{"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}], "product": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "speculatively": [{"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}], "adds": [{"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}], "coming": [{"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "Maurice": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}], "chants": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}], "varied": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}], "drive": [{"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}], "exercise": [{"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}], "produce": [{"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}], "learn": [{"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "never": [{"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}], "Kürten": [{"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}], "Hour": [{"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}], "'graphic": [{"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}], "intention": [{"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}], "thousands": [{"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}], "generation": [{"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "21", "sentence": "New generations are born."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}], "containing": [{"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "Her": [{"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}], "internet": [{"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}], "Cupid": [{"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "human": [{"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}], "TGC": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "TGC #3 fits right in."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "before": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "Nancarrow": [{"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "Wheels": [{"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}], "Notation": [{"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "Writers": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "Scores.Guðmundur": [], "reinterpretations": [{"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}], "Brosi": [{"id": "01", "sentence": "So far Evelin Brosi."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "books": [{"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}], "starts": [{"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}], "against": [{"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "28", "sentence": "If you work against it, it will kill you."}], "Clean": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "parking": [{"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "entrance": [{"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}], "Metrostation": [{"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}], "Abstract": [{"id": "06", "sentence": "Abstract poetry."}], "harmonic": [{"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}], "GRM": [{"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}], "Mass": [{"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}], "main": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}], "materiality": [{"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}], "Sophie": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Zeus": [{"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "there": [{"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "aiming for the best of both worlds there."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "You have to take a boat to get there."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "sat": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}], "U.N.": [{"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}], "spider": [{"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}], "waiting": [{"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}], "Yukki": [{"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}], "FL": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "Feist": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "imagining": [{"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}], "devoid": [{"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}], "reproductive": [{"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}], "Zee": [{"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "generally": [{"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}], "psycho": [{"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}], "Novalis": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "After": [{"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}], "Vector": [{"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "workshop": [{"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "strong": [{"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "Whitney": [{"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}], "expand": [{"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}], "Representing": [{"id": "12", "sentence": "Representing 3."}], "Virtual": [{"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "Rapsodia": [{"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}], "Tøyen": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "happen": [{"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "06", "sentence": "So that’s what happened."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "What shifts happened in the past?"}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}], "6": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "c. 1963"}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "AND": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}], "restricted": [{"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "writer": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "ahead": [{"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}], "awesome": [{"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}], "Jennifer": [{"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "Even": [{"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}], "system": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}], "bullet": [{"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "9-11": [{"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}], "having": [{"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}], "mode": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "whole": [{"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}], "software": [{"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "Metropolis": [{"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}], "rolls": [{"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "Producer": [{"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "Christmas": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "plastic": [{"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}], "via": [{"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "passed": [{"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}], "t": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "Sat, 14 & Sun."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "His best ones."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "02", "sentence": "The result is a mix of several media."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "http://www.remcovanbladel.nl/"}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Join the community."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "We first got in touch with Principium 1.0."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "Abstract poetry."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?"}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "Well, a little, two years, actually."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Really great stuff."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "So that’s what happened."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no."}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "What was the problem?"}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "-Not really, at least not in this case."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "How do you do that?"}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "-You do it in short sessions, hah."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?"}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "-I do look at it as a solo thing."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "And I follow that."}, {"id": "06", "sentence": "They’re just new pieces in their own right."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "06", "sentence": "Art is letting things go, let it flow\"."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control."}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "And a statement.."}, {"id": "06", "sentence": "I don’t know."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "Do you see this as a drone record?"}, {"id": "06", "sentence": "-If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "06", "sentence": "Quite the contrary."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "So more drone, definitely."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "06", "sentence": "aiming for the best of both worlds there."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "Until i tried it."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "It’s strangely hypnotizing."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "A sort of live coding."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "10", "sentence": "https://harddisko.ch"}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "Representing 3."}, {"id": "12", "sentence": "Repeating 4."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "The conceptualization, the funding, the execution."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "participating artists: WHO ?"}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "https://en.wikipedia.org/wiki/Baton_(conducting"}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "20", "sentence": "URL: http://huellkurven.net"}, {"id": "21", "sentence": "https://monoskop.org/Concrete_poetry"}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "Subcultures form through music."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "21", "sentence": "New generations are born."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Good practise for the ears."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "This means animated notation."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "thesis in Mills College."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "thesis in Mills College."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "TGC #3 fits right in."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "artists: WHO ?"}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "https://xpub.pzimediadesign.nl"}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Where does mining stop?"}, {"id": "28", "sentence": "How much influence does it have on a community?"}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I did the same with coal."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "It is important for companies to manage this."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "28", "sentence": "We can see layers of hematite."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "You have to take a boat to get there."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "It created a vacuum after it closed."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "If you work against it, it will kill you."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "That is quite scary."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "What shifts will we see?"}, {"id": "28", "sentence": "What shifts happened in the past?"}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "Were they forced up North by circumstances?"}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "28", "sentence": "I apply filters, use electronics."}, {"id": "28", "sentence": "It’s a kind of sound alchemy."}, {"id": "28", "sentence": "All to get to the desired result: the gold!’"}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "31", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "position."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}, {"id": "34", "sentence": "Julian unfortunately died at young age."}, {"id": "34", "sentence": "Marco was primarily active as a visual artist."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Kooning": [{"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}], "meets": [{"id": "02", "sentence": "“feed Flintstone meets 21st century”."}], "situ": [{"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}], "comes": [{"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "Air": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "seismic": [{"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}], "1967": [{"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}], "circuitry": [{"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}], "jukebox": [{"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}], "serve": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "34", "sentence": "Good food and drinks were served."}], "'instrumentalisation": [{"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}], "magazine/object": [{"id": "02", "sentence": "All these scores had to come together in one magazine/object."}], "construction": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}], "Sadier": [{"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}], "true": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "argentite": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "sound-text": [{"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}], "restriction": [{"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}], "revolving": [{"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}], "composers": [{"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}], "theatre": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "Fylkingen": [{"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}], "ways": [{"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "explain": [{"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "constantly": [{"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}], "feet": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "Stump": [{"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}], "gallery": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "Can": [{"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}], "Thus": [{"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}], "audience": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "training": [{"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}], "began": [{"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}], "performance": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "Nagy": [{"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}], "his": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?"}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "-Not really, at least not in this case."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Do you see this as a drone record?"}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "This means animated notation."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "It is important for companies to manage this."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "'real": [{"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}], "missiles": [{"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "1.0": [{"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "We first got in touch with Principium 1.0."}], "Iglesias": [{"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}], "aspirations": [{"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}], "November": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "self-invented": [{"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}], "naive": [{"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}], "stage": [{"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}], "conceptualization": [{"id": "13", "sentence": "The conceptualization, the funding, the execution."}], "Working": [{"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "Working with sound performance and art installation."}], "AMVK": [{"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}], "listening": [{"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}], "Steel": [{"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "Patrol": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Amsterdam": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "getting": [{"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}], "indicated": [{"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}], "delve": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}], "Wolfsberger": [{"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}], "intensified": [{"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}], "matter": [{"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}], "Circulaire": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}], "filters": [{"id": "28", "sentence": "I apply filters, use electronics."}], "Things": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "sum": [{"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}], "position": [{"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "position."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "five": [{"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}], "sonar": [{"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}], "Icelandic": [{"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}], "personifying": [{"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}], "0.35": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "something": [{"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}], "needed": [{"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}], "positions": [{"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "earthquakes": [{"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}], "regeneration": [{"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}], "Presentation": [{"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}], "natural": [{"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}], "activate": [{"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "31", "sentence": "On the spot, the audience could activate the UNI."}], "appealing": [{"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}], "Extra": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "Þosteinsdóttir": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "publication": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "Flintstone": [{"id": "02", "sentence": "“feed Flintstone meets 21st century”."}], "Pipkin": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "blank": [{"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}], "view": [{"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}], "performs": [{"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}], "Only": [{"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}], "explains": [{"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}], "Curran": [{"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "employed": [{"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}], "heating": [{"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "expanded": [{"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}], "R.": [{"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}], "edition": [{"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}], "stores": [{"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}], "self-aware": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}], "files": [{"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}], "Spreeuwenberg": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "whether": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}], "design": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "27", "sentence": "https://xpub.pzimediadesign.nl"}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}], "New": [{"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "21", "sentence": "New generations are born."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "we": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "-If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "What shifts will we see?"}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "Good food and drinks were served."}], "literally": [{"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}], "real.Remco": [], "dead": [{"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "At": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "develop": [{"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "inclinations": [{"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}], "western": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "Dave": [{"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}], "knew": [{"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}], "switch": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}], "structural": [{"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}], "sphalerite": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "areas": [{"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}], "mountains": [{"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "Ball": [{"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "initiate": [{"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}], "counts": [{"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}], "overlap": [{"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}], "double": [{"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "playing": [{"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}], "mystery": [{"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "Broken": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}], "ambiance": [{"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}], "favourite": [{"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}], "copied": [{"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}], "stefan-smulovitz": [{"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}], "Tube": [{"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}], "denote": [{"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}], "mean": [{"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "22", "sentence": "This means animated notation."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "All": [{"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "28", "sentence": "All to get to the desired result: the gold!’"}], "stuck": [{"id": "25", "sentence": "The system was therefore completely stuck."}], "Perfect": [{"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}], "figures": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}], "Lazlo": [{"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}], "garnered": [{"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "drug": [{"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}], "yield": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}], "edit": [{"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "eyes": [{"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "spontaneity": [{"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}], "documentation": [{"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}], "testing": [{"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}], "Francisco": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "Also": [{"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "non-musical": [{"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}], "scheelite": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "been": [{"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}], "dimension": [{"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "excursions": [{"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}], "Bennet": [{"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "publish": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}], "organ": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "references": [{"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "hopefully": [{"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}], "psyche": [{"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}], "entity": [{"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "The style / genre determines the identity."}], "where": [{"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "ecology": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}], "NIEA": [{"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "setup": [{"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}], "recognise": [{"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}], "collective": [{"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}], "repertoire": [{"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}], "sampling": [{"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}], "Ensemble": [{"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "displayed": [{"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}], "interacting": [{"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}], "Popularity": [{"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "appropriates": [{"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}], "along": [{"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}], "jpeg": [{"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}], "runs": [{"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}], "ceiling": [{"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}], "Currently": [{"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}], "flow": [{"id": "06", "sentence": "Art is letting things go, let it flow\"."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}], "architecture": [{"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}], "go": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "06", "sentence": "We first got in touch with Principium 1.0."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "Art is letting things go, let it flow\"."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "All to get to the desired result: the gold!’"}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "Fratelli": [{"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "eliminate": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "international": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}], "reproduction": [{"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "printed": [{"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}], "Sacrificing": [{"id": "12", "sentence": "Sacrificing 2."}], "Stained": [{"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "1972": [{"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}], "knowing": [{"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}], "executive": [{"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}], "exchanging": [{"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}], "concret": [{"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "In": [{"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "cut": [{"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "13", "sentence": "The conceptualization, the funding, the execution."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}], "right": [{"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "They’re just new pieces in their own right."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "27", "sentence": "TGC #3 fits right in."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}], "//kraak.net/festival2017/artist/hiele-martens": [{"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}], "Shoes": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "animals": [{"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}], "execute": [{"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}], "execution..": [{"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}], "probably": [{"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}], "Presley": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}], "letting": [{"id": "06", "sentence": "Art is letting things go, let it flow\"."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control."}], "Lopez": [{"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "Witte": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "more": [{"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "So more drone, definitely."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "also": [{"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}], "plus": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}], "risk": [{"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "afforded": [{"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}], "organisations": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}], "colours": [{"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}], "From": [{"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}], "waves": [{"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}], "initial": [{"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}], "scores": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "get": [{"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "You have to take a boat to get there."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "All to get to the desired result: the gold!’"}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "power": [{"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}], "explored": [{"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}], "'work": [{"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}], "multi": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}], "Foals": [{"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}], "Maashaven": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}], "Acts": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}], "tonality": [{"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}], "-You": [{"id": "06", "sentence": "-You do it in short sessions, hah."}], "responds": [{"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}], "Within": [{"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}], "myself": [{"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}], "application": [{"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}], "video": [{"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}], "Body": [{"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}], "Gudmundur": [{"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}], "unveil": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}], "Gods": [{"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "enter": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}], "Gym": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "0.03": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "forming": [{"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}], "Tokyo": [{"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "happened": [{"id": "06", "sentence": "So that’s what happened."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "What shifts happened in the past?"}], "0.15mm": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "tool": [{"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}], "JOHANNES": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "Holzer": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "Franklin": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}], "intertwined": [{"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}], "work": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "If you work against it, it will kill you."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "celestial": [{"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}], "EVP": [{"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}], "uploaded": [{"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "Paramore": [{"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "biotopes": [{"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}], "relations": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "Girls": [{"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Jazz": [{"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}], "baleful": [{"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}], "animal": [{"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}], "kind": [{"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "It’s a kind of sound alchemy."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}], "VECTORIAN": [{"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "27": [{"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}], "education": [{"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}], "II": [{"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "rpm": [{"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}], "Next": [{"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}], "Why": [{"id": "06", "sentence": "Why so?"}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}], "pz": [{"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "27", "sentence": "https://xpub.pzimediadesign.nl"}], "ensure": [{"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}], "accompanied": [{"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}], "Giralt": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "sensors": [{"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}], "het": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "differ": [{"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}], "provided": [{"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}], "machine": [{"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}], "shape": [{"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}], "early-": [{"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}], "longer": [{"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}], "located": [{"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}], "acoustics": [{"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}], "died": [{"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "34", "sentence": "Julian unfortunately died at young age."}], "ore": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "So more drone, definitely."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "exact": [{"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}], "comments": [{"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}], "Dates": [{"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}], "Sweden": [{"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}], "Go": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "22", "sentence": "Good practise for the ears."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "34", "sentence": "Good food and drinks were served."}], "Caillat": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "relates": [{"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}], "SMITH": [{"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}], "continued": [{"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}], "maybe": [{"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}], "Stemra": [{"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}], "grey": [{"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}], "hang": [{"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}], "patterns": [{"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "moving": [{"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}], "Wait": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Give": [{"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}], "sits": [{"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}], "d": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "02", "sentence": "The result is a mix of several media."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "http://www.remcovanbladel.nl/"}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier'."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "Meaning a record."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "End of piece."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "So that’s what happened."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no."}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "How do you do that?"}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "-You do it in short sessions, hah."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?"}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "-I do look at it as a solo thing."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "And I follow that."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "And a statement.."}, {"id": "06", "sentence": "I don’t know."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "Do you see this as a drone record?"}, {"id": "06", "sentence": "Or as a collage record?"}, {"id": "06", "sentence": "-If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "So more drone, definitely."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "06", "sentence": "aiming for the best of both worlds there."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "Until i tried it."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "A sort of live coding."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "10", "sentence": "https://harddisko.ch"}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "The conceptualization, the funding, the execution."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "https://en.wikipedia.org/wiki/Baton_(conducting"}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Good practise for the ears."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "This means animated notation."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "https://xpub.pzimediadesign.nl"}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Where does mining stop?"}, {"id": "28", "sentence": "How much influence does it have on a community?"}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I did the same with coal."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "It created a vacuum after it closed."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "What shifts happened in the past?"}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "Were they forced up North by circumstances?"}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "28", "sentence": "It’s a kind of sound alchemy."}, {"id": "28", "sentence": "All to get to the desired result: the gold!’"}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "31", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}, {"id": "34", "sentence": "Julian unfortunately died at young age."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}, {"id": "34", "sentence": "Good food and drinks were served."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Dukalska": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "old": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "All to get to the desired result: the gold!’"}], "considers": [{"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}], "drafts": [{"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}], "generates": [{"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}], "Australia": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}], "established": [{"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}], "González": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "hosting": [{"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}], "weeks": [{"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}], "nomadic": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}], "Gudmunder": [{"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}], "compactly": [{"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}], "VECTOR": [{"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "sundown": [{"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "//www.kreidler-net.de/productplacements-e.html": [{"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}], "same": [{"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "28", "sentence": "I did the same with coal."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "presented": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}], "place": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}], "virtual": [{"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}], "hands": [{"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "Paul": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}], "facsimile": [{"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "grids": [{"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}], "taught": [{"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}], "in/out": [{"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}], "useful": [{"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}], "poly": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}], "source": [{"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}], "petalite": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "largest": [{"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}], "Kerckhoven": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "path": [{"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}], "appeared": [{"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}], "wove": [{"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}], "comet": [{"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}], "laid": [{"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}], "Carey": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Venice": [{"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}], "made": [{"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}], "many": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "Days": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "civil": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "became": [{"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}], "Con": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "21", "sentence": "https://monoskop.org/Concrete_poetry"}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "acousmatic": [{"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}], "instance": [{"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}], "got": [{"id": "06", "sentence": "We first got in touch with Principium 1.0."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}], "Gunnarsson": [{"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}], "doing": [{"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}], "addition": [{"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}], "Far": [{"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}], "tones": [{"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "manmade": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "Fergie": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "it.FERSTEINN": [], "Plasticism": [{"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}], "kid": [{"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}], "Stone": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "McCartney": [{"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}], "bullets": [{"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "styles": [{"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "cabinet": [{"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}], "realize": [{"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}], "tune": [{"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "24": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "missed": [{"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}], "very": [{"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}], "concentration": [{"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "MS20": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}], "below": [{"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}], "said": [{"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}], "familiar": [{"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}], "Music": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "bite": [{"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Michael": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "Wi-Fi": [{"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}], "mediation": [{"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}], "Hanover": [{"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}], "articulate": [{"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}], "tapestry": [{"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}], "curdy": [{"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}], "tempo": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "Gregorian": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}], "sale": [{"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}], "BY": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}], "practices": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "Basically": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}], "especially": [{"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}], "Connecting": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}], "billions": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}], "last": [{"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}], "Nilsen": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}], "Potassium": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "satisfaction": [{"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "footwork": [{"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}], "sooner": [{"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "VanHoof": [{"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}], "Sagamihara": [{"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "extra": [{"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "punched": [{"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "unite": [{"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}], "fair": [{"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}], "depends": [{"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}], "interested": [{"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}], "phenomena": [{"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "filtering": [{"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}], "explosions": [{"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}], "reflective": [{"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "descending": [{"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "Cascada": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "seeking": [{"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}], "Sound": [{"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}], "theoretical/historical": [{"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "soundings": [{"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}], "guise": [{"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "H2O": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "operating": [{"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}], "pragmatical": [{"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}], "3rd": [{"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}], "representing": [{"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "WIELS": [{"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}], "lost": [{"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "software/noise": [{"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}], "scarsely": [{"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}], "cheironmy": [{"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}], "mystique": [{"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}], "direct": [{"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}], "Iraqi": [{"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "Sláturtíð": [{"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}], "present": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "12", "sentence": "Representing 3."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}], "so-called": [{"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}], "Carolyna": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "discourse": [{"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}], "remco": [{"id": "04", "sentence": "http://www.remcovanbladel.nl/"}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}], "Simpson": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "month": [{"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}], "these": [{"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "cleave": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "national": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "fixed": [{"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}], "lays": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}], "//17.piksel.no/": [{"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}], "Sonido": [{"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}], "stay": [{"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}], "Kirkenes": [{"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}], "asunder": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "drinks": [{"id": "34", "sentence": "Good food and drinks were served."}], "Drivers": [{"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "Remark": [{"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}], "opera": [{"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}], "CRUSH": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "hundreds": [{"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}], "instantaneously": [{"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}], "PZI_XPUB": [{"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}], "Daniel": [{"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}], "market": [{"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}], "pulsations": [{"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}], "only": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}], "Festival": [{"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}], "fragility": [{"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}], "Fersteinn": [{"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}], "lapse": [{"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}], "street": [{"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}], "hurry": [{"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}], "Dunkelmann": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "treated": [{"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "supposed": [{"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}], "canvas": [{"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}], "Concrete": [{"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "21", "sentence": "https://monoskop.org/Concrete_poetry"}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}], "MAT": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}], "Ingi": [{"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "Night": [{"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}], "pretty": [{"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}], "Program": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "hospital": [{"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "coloured": [{"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}], "converting": [{"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}], "Bladel": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}], "juxtaposition": [{"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}], "alone": [{"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "grahic": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}], "execution": [{"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "13", "sentence": "The conceptualization, the funding, the execution."}], "mineral": [{"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}], "precursor": [{"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}], "shows": [{"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "events": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}], "National": [{"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "co-curator": [{"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}], "clever": [{"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}], "065": [{"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "Embodiment": [{"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}], "plant": [{"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}], "page": [{"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "Vasulka": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "Cobra": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "IRREGULAR": [{"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}], "select": [{"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}], "Andre": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "soundscapes": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}], "ride": [{"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}], "delacourt": [{"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}], "mysterious": [{"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "new": [{"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "They’re just new pieces in their own right."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "Elder": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "standard": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "Will.I.Am": [{"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}], "For": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}], "Paik": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "me.": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}], "//macumbista.netWe": [], "S.": [{"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}], "languages": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}], "incentive": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}], "side": [{"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}], "beautifully": [{"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}], "logistics": [{"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}], "Books": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Aalto": [{"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}], "telephone": [{"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}], "flat-on-your-ass": [{"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}], "arctic": [{"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}], "Lætitia": [{"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}], "Investigation": [{"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "tied": [{"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}], "six-notes": [{"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}], "security": [{"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}], "genres": [{"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}], "lines": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "worthwhile": [{"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}], "alchemy": [{"id": "28", "sentence": "It’s a kind of sound alchemy."}], "fine-tuned": [{"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}], "blurring": [{"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}], "tiny": [{"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}], "She": [{"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}], "manipulate": [{"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}], "beats": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}], "piano": [{"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "park": [{"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}], "Memory": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "creating": [{"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "reading": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "Soulja": [{"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "i": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "So far Evelin Brosi."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "His best ones."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "02", "sentence": "The result is a mix of several media."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier'."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Join the community."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "We first got in touch with Principium 1.0."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "Meaning a record."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?"}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "Well, a little, two years, actually."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "End of piece."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no."}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "-Not really, at least not in this case."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "-You do it in short sessions, hah."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?"}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "-I do look at it as a solo thing."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "They’re just new pieces in their own right."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "06", "sentence": "Art is letting things go, let it flow\"."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control."}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "Do you see this as a drone record?"}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "06", "sentence": "Quite the contrary."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "So more drone, definitely."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "06", "sentence": "aiming for the best of both worlds there."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "Until i tried it."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "It’s strangely hypnotizing."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "A sort of live coding."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "10", "sentence": "https://harddisko.ch"}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "Sacrificing 2."}, {"id": "12", "sentence": "Representing 3."}, {"id": "12", "sentence": "Repeating 4."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "The conceptualization, the funding, the execution."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "participating artists: WHO ?"}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "https://en.wikipedia.org/wiki/Baton_(conducting"}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "Subcultures form through music."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "21", "sentence": "New generations are born."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Good practise for the ears."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "This means animated notation."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "thesis in Mills College."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "thesis in Mills College."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "TGC #3 fits right in."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "artists: WHO ?"}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "https://xpub.pzimediadesign.nl"}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Where does mining stop?"}, {"id": "28", "sentence": "How much influence does it have on a community?"}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I did the same with coal."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "It is important for companies to manage this."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "28", "sentence": "We can see layers of hematite."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "It created a vacuum after it closed."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "If you work against it, it will kill you."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "That is quite scary."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "What shifts will we see?"}, {"id": "28", "sentence": "What shifts happened in the past?"}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "Were they forced up North by circumstances?"}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "28", "sentence": "I apply filters, use electronics."}, {"id": "28", "sentence": "It’s a kind of sound alchemy."}, {"id": "28", "sentence": "All to get to the desired result: the gold!’"}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "31", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "position."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}, {"id": "34", "sentence": "Julian unfortunately died at young age."}, {"id": "34", "sentence": "Marco was primarily active as a visual artist."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}, {"id": "34", "sentence": "Good food and drinks were served."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "hypnotizing": [{"id": "07", "sentence": "It’s strangely hypnotizing."}], "XPUB": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}], "Kreidler": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}], "-Oh": [{"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}], "contaminated": [{"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}], "nouveauté": [{"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}], "Conlon": [{"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "presenting": [{"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "12", "sentence": "Representing 3."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "threads": [{"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}], "No": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "-Not really, at least not in this case."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "Were they forced up North by circumstances?"}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "K2O": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Was": [{"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}], "unreadable/unplayable": [{"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}], "blast": [{"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}], "Colbie": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "hardly": [{"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}], "rich": [{"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "Het": [{"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}], "endless": [{"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}], "critical": [{"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}], "oscilloscopes": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}], "commodities": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "teetered": [{"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "Erik": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "particularly": [{"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}], "23": [{"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "intermediary": [{"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}], "exclusive": [{"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}], "regarding": [{"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}], "Saelmakers": [{"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}], "precisely": [{"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}], "combine": [{"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "MIT": [{"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}], "Cola": [{"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}], "Knierzinger": [{"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}], "uk": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}], "George": [{"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}], "Teddy": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "vast": [{"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}], "Billiam": [{"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}], "treatment": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}], "dating": [{"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}], "Eric": [{"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}], "Timidity++": [{"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "code": [{"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}], "Both": [{"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}], "Meat": [{"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}], "converted": [{"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}], "KREIDLER": [{"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "become": [{"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "numerous": [{"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}], "apply": [{"id": "28", "sentence": "I apply filters, use electronics."}], "thereafter": [{"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "Borders": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "dialectical": [{"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "listened": [{"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}], "079": [{"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}], "accessibility": [{"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}], "//telcosystems.net/product/resonanz/": [{"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}], "Your": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "oscilloscope": [{"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}], "multidisciplinary": [{"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}], "My": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}], "anticlimax": [{"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}], "Burn": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "hockets": [{"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}], "Many": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "DEPLAYER/DOB": [{"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}], "loss": [{"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}], "Therefore": [{"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}], "illustration": [{"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}], "AN": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "institutions": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "voltage": [{"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}], "transmission": [{"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}], "sound/music": [{"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}], "Aurélie": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "solfege": [{"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}], "Recording": [{"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}], "Keersemaker": [{"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}], "PLAYER": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "provide": [{"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}], "alchemic": [{"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}], "F": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Tungsten": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Song": [{"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "care": [{"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}], "'Para-phonic": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}], "inserted": [{"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}], "between": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "-If you force me to choose between those two, then drone."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "laptop": [{"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}], "affiliated": [{"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}], "player": [{"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "Bottle": [{"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}], "Tennis": [{"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}], "Thingamajigs": [{"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "practitioner": [{"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}], "manipulation": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}], "potential": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "Charts": [{"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}], "short-lived": [{"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}], "1990s": [{"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}], "model—namely": [{"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}], "anti-social": [{"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "addres": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}], "started": [{"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}], "brightness": [{"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "curated": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}], "Ross": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "collection": [{"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}], "exhausted": [{"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}], "Live": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}], "pass": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}], "why": [{"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}], "singing": [{"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}], "otherworldly": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}], "fascinates": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "spiders": [{"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}], "Ward": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Listening": [{"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}], "optical/sculptural": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}], "utopias": [{"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}], "lights": [{"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}], "Bocelli": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Balloons": [{"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}], "Workers": [{"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}], "multidimensional": [{"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}], "afterwards": [{"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}], "avant-garde": [{"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "humming": [{"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}], "webs": [{"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "automaton": [{"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}], "speculated": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "Thu": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "actions": [{"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "theatrical": [{"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}], "cause": [{"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "seems": [{"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}], "Theodore": [{"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "alternative": [{"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}], "How": [{"id": "06", "sentence": "How do you do that?"}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?"}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "28", "sentence": "How much influence does it have on a community?"}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}], "Minogue": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "projection": [{"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}], "spiderwebs": [{"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}], "draws": [{"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "curious": [{"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}], "Ideal": [{"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "assessment": [{"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}], "arguably": [{"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}], "Moog": [{"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}], "nothing": [{"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}], "mechanical": [{"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}], "step": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}], "quotations": [{"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}], "practice": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}]} \ No newline at end of file diff --git a/forms.py b/forms.py deleted file mode 100644 index 03018ac..0000000 --- a/forms.py +++ /dev/null @@ -1,12 +0,0 @@ -from flask_wtf import Form -from wtforms import TextField, IntegerField, TextAreaField, SubmitField, RadioField, SelectField, StringField - -from wtforms import validators, ValidationError - -class ReusableForm(Form): - name = TextField('Name:', [validators.Required('Please enter your name.')]) - email = TextField('Email:',[validators.Required('Please enter your email 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- harmonies, - - - Xenakis-esque, - - - goes, - - - booklet, - - - During, - - - Along, - - - appeal, - - - Representing, - - - Lopez, - - - Quo, - - - Sundown, - - - satisfy, - - - language-based, - - - Emma, - - - Mineral, - - - months, - - - Age, - - - Mn, - - - lepidolite, - - - Benny, - - - understanding, - - - water, - - - downloaded, - - - twentieth, - - - groups, - - - address, - - - alone, - - - re, - - - along, - - - Zwart, - - - Changes, - - - teacher, - - - change, - - - softwares, - - - Subcultures, - - - Mellotron, - - - ORE, - - - Yukki, - - - ethics, - - - Portugal, - - - precursor, - - - shift, - - - vectors, - - - commonly, - - - Your, - - - exploitation, - - - Bowtie, - - - simultaneous, - - - historical, - - - DEPLAYER, - - - usually, - - - resonance, - - - Tilburg, - - - studies, - - - engineer, - - - Brieselaan, - - - useful, - - - perspectives, - - - ILDA, - - - extra, - - - Justice, - - - problematic, - - - merely, - - - Stained, - - - When, - - - Different, - - - logical, - - - modifying, - - - Friedrich, - - - VANHOOF, - - - Therefore, - - - completed, - - - overthink, - - - listened, - - - market, - - - horizontal, - - - Tielemans, - - - Preachers, - - - towards, - - - voices, - - - wealth, - - - working, - - - surroundings, - - - positive, - - - 200, - - - abroad, - - - intermediary, - - - live, - - - approach, - - - proposes, - - - opposed, - - - https, - - - criteria, - - - films, - - - believing, - - - compactly, - - - theoretical, - - - Those, - - - intently, - - - scratched, - - - Baxter, - - - unreadable, - - - Ben, - - - ambiguity, - - - conductor, - - - F, - - - These, - - - outputs, - - - getting, - - - Bed, - - - clue, - - - consoles, - - - invitation, - - - commissioned, - - - flapping, - - - Time, - - - misconception, - - - given, - - - effort, - - - emphasising, - - - Bet, - - - afterwards, - - - fly, - - - graphic, - - - sphere, - - - German, - - - sensitivities, - - - Magnetic, - - - modified, - - - believes, - - - Down, - - - KAHN, - - - printing, - - - values, - - - can, - - - Amersfoort, - - - following, - - - Our, - - - arrive, - - - Abstract, - - - performative, - - - Out, - - - Alps, - - - spun, - - - crazy, - - - performer, - - - Moniker, - - - Rumble, - - - figure, - - - pauses, - - - fragment, - - - University, - - - awesome, - - - Sonifier, - - - near, - - - 1980s, - - - heard, - - - Symphony, - - - Zealand, - - - ERA, - - - allowed, - - - realtime-controllable, - - - thirty-three, - - - intelligible, - - - Rhizome, - - - productive, - - - winter, - - - silos, - - - ideas, - - - discussion, - - - oscilloscope, - - - reside, - - - species, - - - 1, - - - beat, - - - vital, - - - actual, - - - pure, - - - Tungsten, - - - youth, - - - dubplate, - - - multiplexed, - - - Why, - - - glissandi, - - - Larrikin, - - - inputs, - - - product, - - - designer, - - - explores, - - - coming, - - - influenced, - - - may, - - - Kees, - - - Julia, - - - Alfie, - - - Buennagel, - - - expectation, - - - muttering, - - - PLAYER, - - - explored, - - - BE, - - - designed, - - - 11, - - - date, - - - representations, - - - footwork, - - - truly, - - - data, - - - grow, - - - man, - - - Britton, - - - manufacturers, - - - Still, - - - natural, - - - Shoes, - - - pulsations, - - - beam, - - - maybe, - - - nomadic, - - - columbite, - - - simple, - - - yielding, - - - switch, - - - Hague, - - - so, - - - block, - - - title, - - - electroacoustic, - - - Morton, - - - se, - - - imagining, - - - exclusive, - - - serving, - - - words, - - - ownership, - - - indeed, - - - counsellor, - - - Breaking, - - - MgO, - - - banal, - - - years, - - - Jan, - - - ended, - - - experiments, - - - early-, - - - States, - - - pitch, - - - Kagel, - - - still, - - - Hard-Fi, - - - PRESENTS, - - - derive, - - - group, - - - unnoticed, - - - how, - - - interesting, - - - organisation, - - - extremis, - - - encompasses, - - - sixties, - - - forms, - - - combines, - - - window, - - - Moving, - - - Whitney, - - - constitutes, - - - Remco, - - - webs, - - - World, - - - main, - - - decades, - - - abusive, - - - limbo, - - - Wait, - - - recreate, - - - influences, - - - Timberlake, - - - witchcraft, - - - evolution, - - - introduce, - - - bound, - - - underneath, - - - records, - - - Right, - - - new-media, - - - She, - - - Could, - - - aspirations, - - - Brookhaven, - - - morphing, - - - Laboratories, - - - discuss, - - - developments, - - - execute, - - - actuality, - - - hop, - - - name, - - - Shikari, - - - rendering, - - - servant, - - - explains, - - - times, - - - drop, - - - polyphonic, - - - phonic, - - - ensemble, - - - possibilities, - - - intrigued, - - - realise, - - - Nordlichter, - - - veins, - - - entirely, - - - Emptiness, - - - quartet, - - - liberating, - - - em, - - - Mariah, - - - Grinder, - - - primarily, - - - Luv, - - - populated, - - - Peri, - - - directing, - - - Except, - - - Curvy, - - - indeterminable, - - - grandmother, - - - Live, - - - low-wage, - - - begun, - - - year, - - - happen, - - - monitors, - - - intended, - - - album, - - - living, - - - ultimately, - - - Step, - - - results, - - - beauty, - - - enjoyable, - - - space, - - - Joy, - - - interference, - - - Within, - - - 27, - - - Ultima, - - - investigation, - - - navigating, - - - Orientation, - - - formula, - - - receiving, - - - sensor, - - - Davide, - - - shows, - - - Stone, - - - earlier, - - - reformulation, - - - monster, - - - G, - - - Tumbai, - - - million, - - - seventh, - - - gaffs, - - - quite, - - - bringing, - - - recordings, - - - unwanted, - - - emulation, - - - Allen, - - - org, - - - ore, - - - inductive, - - - POLY-DISO, - - - card, - - - care, - - - Sunblock, - - - training, - - - Pistols, - - - contemplation, - - - couldn, - - - language, - - - selections, - - - FLOPPY, - - - Julian, - - - headphones, - - - punk, - - - choices, - - - motion, - - - initiate, - - - OTHERS, - - - concrete, - - - place, - - - Erik, - - - Triple, - - - 1234, - - - timelines, - - - think, - - - frequent, - - - first, - - - origin, - - - intuition, - - - Eric, - - - Tøyen, - - - striking, - - - spoken, - - - Hang, - - - There, - - - yourself, - - - Start, - - - inventive, - - - cybernetics, - - - long-duration, - - - Pure, - - - Evelin, - - - comprises, - - - impossible, - - - array, - - - open, - - - Pipkin, - - - size, - - - honourable, - - - monazite, - - - little, - - - law, - - - sheet, - - - mutated, - - - Candyman, - - - Each, - - - trillion, - - - DOB094, - - - plastic, - - - indicate, - - - Throughout, - - - 2, - - - modernist, - - - Uses, - - - white, - - - bits, - - - national, - - - speaking, - - - gives, - - - IR2016, - - - Kuro, - - - eyes, - - - artworks, - - - Seasons, - - - way, - - - mostly, - - - pre-digital, - - - floppy, - - - Patrick, - - - continuous, - - - Lostprophets, - - - Kakakakaito1998, - - - released, - - - harbour, - - - Miles, - - - hope, - - - editions, - - - PDF, - - - Hilkmann, - - - copy, - - - representing, - - - than, - - - Clothes, - - - Timisoara, - - - connections, - - - television, - - - 12, - - - 15, - - - unfortunately, - - - 17, - - - edition, - - - 19, - - - 18, - - - typography, - - - distils, - - - future, - - - Huellkurven, - - - methodology, - - - aesthetic, - - - standardised, - - - AMVK, - - - published, - - - and, - - - Steel, - - - documentation, - - - DJ, - - - ignores, - - - Wrecking, - - - largely, - - - Cherry, - - - DE, - - - turned, - - - argument, - - - crossover, - - - already, - - - say, - - - Winnipeg, - - - Call, - - - Calm, - - - voiced, - - - Explorer, - - - Faulkner, - - - occupied, - - - any, - - - rasterised, - - - sat, - - - Do, - - - Arezo, - - - emulating, - - - Thingamajigs, - - - Player, - - - translate, - - - WiFi, - - - PINKIE, - - - complexity, - - - hotspot, - - - instructed, - - - six, - - - equipment, - - - rehearsals, - - - animation, - - - take, - - - Half, - - - interior, - - - performance, - - - collaborated, - - - Dr, - - - channel, - - - Neiden, - - - flattered, - - - Jetset, - - - begin, - - - sure, - - - Off, - - - fundamental, - - - theatre, - - - opposite, - - - enter, - - - visitors, - - - RAFAËL, - - - printed, - - - sheets, - - - Abuses, - - - festivals, - - - Keane, - - - inserted, - - - pages, - - - FLORIS, - - - countries, - - - Courteeners, - - - democratic, - - - Saelemakers, - - - especially, - - - HILKMANN, - - - considered, - - - uses, - - - shooter, - - - implications, - - - drive, - - - Chain, - - - Douga, - - - refining, - - - nuclear, - - - Chen, - - - Amsterdam, - - - effect, - - - Gawker, - - - typically, - - - deep-mining-deep-time, - - - CITG, - - - Goodiepal, - - - phenomenon, - - - frustrates, - - - show, - - - HIELE, - - - workshops, - - - cheap, - - - contemporary, - - - sites, - - - adviser, - - - spaces, - - - counterpoints, - - - faster, - - - southwestern, - - - Stephen, - - - Smile, - - - personifying, - - - label, - - - imagined, - - - Sozzi, - - - Queen, - - - feedback, - - - Colbie, - - - boundaries, - - - We, - - - slow, - - - entities, - - - RECORDS, - - - Flenger, - - - relentless, - - - representation, - - - Mary, - - - Berlin, - - - HOLZER, - - - short, - - - liberation, - - - only, - - - going, - - - Studio, - - - inventions, - - - Bunton, - - - Earthquake, - - - awareness, - - - digitalcraft, - - - Resonanz, - - - get, - - - between, - - - Irish, - - - Musikin, - - - affecting, - - - cannot, - - - nearly, - - - rendition, - - - Maiguashca, - - - reveal, - - - regarding, - - - reading, - - - vertical, - - - intuitive, - - - Angel, - - - settings, - - - DIY, - - - attitude, - - - yield, - - - fascinates, - - - sum, - - - compositional, - - - Na2O, - - - paper, - - - firmament, - - - mapped, - - - sonar, - - - through, - - - multi-arm, - - - discussing, - - - worrying, - - - Vuksic, - - - microphones, - - - reveals, - - - randomly, - - - dummy, - - - filters, - - - often, - - - Grant, - - - physically, - - - Phenomena, - - - innovative, - - - Specifically, - - - relative, - - - turntable, - - - actively, - - - Marclay, - - - 1926, - - - parking, - - - impressions, - - - Acrylic, - - - dialectic, - - - Balloons, - - - points, - - - surfaces, - - - knowing, - - - satisfying, - - - Johnson, - - - Bute, - - - That, - - - ways, - - - subsequent, - - - Flintstone, - - - outsourcing, - - - DEREK, - - - sound-text, - - - colours, - - - importance, - - - 3, - - - Books, - - - Jonas, - - - Mills, - - - recognisable, - - - unplayable, - - - without, - - - Navajo, - - - Knížák, - - - across, - - - toying, - - - soundwaves, - - - lecture-form, - - - Goddess, - - - Pavilion, - - - Gareth, - - - parent, - - - originated, - - - deliver, - - - screen, - - - Barkley, - - - flow, - - - MAT, - - - guitar, - - - concentrate, - - - Joseph, - - - Team, - - - singers, - - - article, - - - Wolfsberger, - - - Iannis, - - - originates, - - - concentrated, - - - reaction, - - - cleave, - - - perceptions, - - - installation, - - - embarrassment, - - - many, - - - region, - - - 23, - - - hours, - - - according, - - - Germanium, - - - somewhere, - - - s, - - - Through, - - - dated, - - - comet, - - - railway, - - - expression, - - - TELCOSYSTEMS, - - - comes, - - - concert, - - - among, - - - filtering, - - - Embodiment, - - - key, - - - effective, - - - endless, - - - conflictual, - - - period, - - - pop, - - - sampling, - - - satisfaction, - - - Hohti, - - - learning, - - - 68, - - - Shit, - - - Sveinbjarnardóttir, - - - two-year, - - - considers, - - - boat, - - - logic, - - - unfolding, - - - Paik, - - - most, - - - tuning, - - - self-invented, - - - Research, - - - Fengjastrútur, - - - de-mass-splintering, - - - informed, - - - absence, - - - But, - - - mark, - - - Perhaps, - - - bequeathed, - - - workshop, - - - 15mm, - - - combined, - - - Connecting, - - - stylus, - - - reflective, - - - prototype, - - - hardly, - - - 500, - - - engine, - - - direction, - - - shy, - - - matters, - - - Ne-Yo, - - - Tata, - - - offered, - - - formed, - - - dates, - - - Together, - - - readings, - - - underlies, - - - doesn, - - - self-aware, - - - Vincent, - - - Cascone, - - - Koninklijk, - - - sound, - - - specialised, - - - myself, - - - hardiest, - - - sit, - - - developing, - - - these, - - - consultant, - - - also, - - - Give, - - - Régine, - - - professional, - - - easier, - - - pre-date, - - - Siobhan, - - - ongoing, - - - editorial, - - - Fricatives, - - - situation, - - - invited, - - - Size, - - - Kottke, - - - Venice, - - - Slow, - - - GesammttkkunnsttMeshuggahhLaandtttt, - - - then, - - - Florian, - - - soil, - - - Tennis, - - - engaged, - - - telephone, - - - Zac, - - - Better, - - - middle, - - - someone, - - - punched, - - - presentations, - - - ambient, - - - ironic, - - - Fontys, - - - engages, - - - technology, - - - everyday, - - - movements, - - - ride, - - - different, - - - missiles, - - - develop, - - - interdisciplinary, - - - Xenakis, - - - Stereolab, - - - media, - - - Void, - - - Jazz, - - - reminded, - - - amateurs, - - - same, - - - archive, - - - shifts, - - - poetic, - - - compiling, - - - speech, - - - Blood, - - - propose, - - - Design, - - - web, - - - document, - - - events, - - - aura, - - - status, - - - visually, - - - extended, - - - blacker, - - - rainbow, - - - I, - - - IS, - - - driver, - - - IT, - - - companion, - - - jive, - - - devoid, - - - running, - - - investigates, - - - delicate, - - - Iron, - - - Buma, - - - changing, - - - Myers, - - - Dream, - - - rethinker, - - - Gamma, - - - oscilloscopes, - - - 2D, - - - STADSLIMIET, - - - theater, - - - biotopes, - - - Designed, - - - Is, - - - no, - - - Bad, - - - Helga, - - - Tektronix, - - - TV, - - - costs, - - - Groothandelsgebouw, - - - trains, - - - coordinate, - - - Timidity, - - - model, - - - Nilsen, - - - interface, - - - dimension, - - - bodies, - - - justify, - - - summer, - - - United, - - - Alvin, - - - WdW, - - - being, - - - money, - - - guided, - - - dancers, - - - Ping, - - - young, - - - rest, - - - got, - - - communities, - - - Daniel, - - - kill, - - - aspect, - - - touch, - - - speed, - - - man-made, - - - Belgian, - - - announcement, - - - death, - - - Amsterdam-based, - - - generator, - - - feminist, - - - tactility, - - - brightness, - - - seems, - - - geological, - - - blog, - - - produkt, - - - setting, - - - Crank, - - - treatment, - - - Anonymous, - - - rock, - - - Koos, - - - coded, - - - extensive, - - - structural, - - - joyful, - - - Stemra, - - - styles, - - - Enemy, - - - Trilogy, - - - aspects, - - - around, - - - argentite, - - - rules, - - - Many, - - - repetitions, - - - caverns, - - - early, - - - Charlotte, - - - grid, - - - Luxembourg, - - - listening, - - - vacuum, - - - using, - - - part, - - - NILSEN, - - - dare, - - - ruled, - - - acquainted, - - - Shot, - - - Caillat, - - - Producer, - - - Los, - - - Kampen, - - - collective, - - - fraternies, - - - Contemporary, - - - serves, - - - Yourself, - - - discarded, - - - chamber, - - - audience, - - - superiority, - - - either, - - - wide-ranging, - - - always, - - - output, - - - Dress, - - - reduced, - - - Hackaday, - - - Before, - - - instantly, - - - twelve, - - - Arnaud, - - - ninty-nine, - - - sequencer, - - - noting, - - - Marc, - - - West, - - - 30, - - - Since, - - - competition, - - - chronology, - - - Amazing, - - - Master, - - - Ellen, - - - duration, - - - New, - - - intact, - - - matching, - - - generates, - - - composers, - - - provided, - - - dialectical, - - - fabulation, - - - windows, - - - micro, - - - recorded, - - - Milan, - - - legal, - - - Later, - - - critical, - - - MIT, - - - Black, - - - curated, - - - happened, - - - non-profit, - - - sided, - - - transmutation, - - - refer, - - - destroys, - - - Gnarls, - - - business, - - - intimate, - - - seconds, - - - Vleeshal, - - - communicate, - - - iconic, - - - black, - - - credits, - - - Kylie, - - - Rock, - - - standpoint, - - - leftover, - - - Willis, - - - refers, - - - went, - - - Serge, - - - session, - - - on, - - - conducting, - - - central, - - - origins, - - - og, - - - Remörk, - - - industry, - - - discussed, - - - develops, - - - thousands, - - - practical, - - - mutually, - - - nothing, - - - stand, - - - act, - - - mixed, - - - Hunk, - - - mean, - - - denote, - - - other, - - - AT, - - - researching, - - - 2nite, - - - film, - - - No, - - - copier, - - - Away, - - - Boogie, - - - bookbinding, - - - Helsinki, - - - Sadier, - - - magnetite, - - - accounts, - - - Jul, - - - determine, - - - speculated, - - - financial, - - - Rotterdam, - - - your, - - - Empty, - - - intervention, - - - arctic, - - - Kristoffer, - - - NL, - - - Wijk, - - - her, - - - area, - - - Adrian, - - - Circular, - - - strictly, - - - Jamie, - - - Melanie, - - - myths, - - - start, - - - UNTITLED, - - - low, - - - sealed, - - - Novalis, - - - sale, - - - materials, - - - consists, - - - Singer, - - - hard, - - - continents, - - - MIDITrail, - - - Cowboy, - - - lapidary, - - - J, - - - pitches, - - - amongst, - - - Aside, - - - plucks, - - - garnered, - - - exemplifying, - - - Small, - - - methodologies, - - - technologies, - - - level, - - - with, - - - Guide, - - - amplify, - - - clockwork, - - - cacti, - - - LED, - - - MIDIPlayer, - - - mortals, - - - Tin, - - - Jibbs, - - - dirty, - - - tones, - - - xenotime, - - - site, - - - Derek, - - - embed, - - - Anything, - - - agree, - - - Seminar, - - - strongly, - - - gone, - - - VALENTINA, - - - hated, - - - videos, - - - exhausted, - - - certain, - - - am, - - - deep, - - - an, - - - Prins, - - - imagination, - - - examine, - - - at, - - - file, - - - organised, - - - trace, - - - Vos, - - - Ayas, - - - tremble, - - - Hot, - - - again, - - - genres, - - - doors, - - - self-structuring, - - - credibility, - - - Flute, - - - storage, - - - 2000, - - - sydvarangergruve, - - - Dark, - - - field, - - - that, - - - valid, - - - 5, - - - Carlson, - - - spatial, - - - undermined, - - - announcements, - - - you, - - - really, - - - annual, - - - Dare, - - - At, - - - alternate, - - - Alex, - - - Sacrificing, - - - 60s, - - - separate, - - - students, - - - translated, - - - enrolled, - - - includes, - - - important, - - - concrète, - - - Piringer, - - - recognise, - - - fresh, - - - included, - - - Nations, - - - tendencies, - - - Anne-Mie, - - - building, - - - menace, - - - calls, - - - Sagamihara, - - - casts, - - - basements, - - - broadcasts, - - - finished, - - - websites, - - - directors, - - - Street, - - - mass, - - - six-notes, - - - recherches, - - - platter, - - - oral, - - - strings, - - - Blag, - - - Greatest, - - - Canada, - - - represent, - - - all, - - - since, - - - Van, - - - forget, - - - Moog, - - - NIEA, - - - caused, - - - Hiele, - - - lack, - - - splitting, - - - Moon, - - - zine, - - - Weller, - - - immersive, - - - Bouwman, - - - expressions, - - - disk, - - - mining, - - - Ensemble, - - - Fil, - - - duplicated, - - - synthetic, - - - William, - - - apartment, - - - referring, - - - homage, - - - stacked, - - - McFly, - - - acting, - - - spirit, - - - Mathias, - - - program, - - - wants, - - - preserved, - - - Timbaland, - - - Its, - - - stochastic, - - - government, - - - presentation, - - - Poly-diso, - - - norm, - - - Clàudia, - - - activities, - - - NIEK, - - - appointment, - - - transducers, - - - straightforward, - - - song, - - - very, - - - coloured, - - - comparatively, - - - me, - - - Technische, - - - decide, - - - fall, - - - laser, - - - Naturalis, - - - manageable, - - - newly, - - - fourth, - - - Ana, - - - splatter-chords, - - - switches, - - - Gwen, - - - 33rpm, - - - Paramore, - - - accompanying, - - - forth, - - - arts, - - - list, - - - joined, - - - Class, - - - singularly, - - - manages, - - - facsimile, - - - quipped, - - - Plantenga, - - - study, - - - Musicales, - - - laut, - - - programme, - - - JUBILEE, - - - population, - - - titled, - - - portable, - - - ten, - - - colossal, - - - built-in, - - - History, - - - cash, - - - past, - - - go, - - - Only, - - - titles, - - - design, - - - displays, - - - Easy, - - - pass, - - - coverage, - - - further, - - - Circle, - - - functioning, - - - mill, - - - returned, - - - hurry-curdy, - - - material, - - - Korea, - - - Biennale, - - - TUNING, - - - short-lived, - - - sun, - - - poisonous, - - - drifting, - - - emotions, - - - witnesses, - - - Cultural, - - - version, - - - actualisation, - - - Samanda, - - - Subotnik, - - - tribute, - - - advance, - - - public, - - - contrast, - - - movement, - - - edited, - - - Short, - - - installations, - - - ranged, - - - wrangling, - - - compilation, - - - Finland, - - - Metropolis, - - - PARA-PHONIC, - - - ranges, - - - modular, - - - tracks, - - - threads, - - - compressed, - - - canvas, - - - sylvite, - - - commercially, - - - re-examined, - - - Silence, - - - publisher, - - - search, - - - potential, - - - Para-phonic, - - - ahead, - - - extraordinary, - - - WORM, - - - Communication, - - - inspired, - - - allows, - - - brutal, - - - Luuk, - - - amount, - - - periodic, - - - newcriticals, - - - sculptural, - - - musically, - - - social, - - - action, - - - Gunnarsson, - - - narrow, - - - aestheticised, - - - concerned, - - - come, - - - sticking, - - - TETRA, - - - Burn, - - - followed, - - - Good, - - - Aug, - - - emissions, - - - Things, - - - demands, - - - imagine, - - - refuses, - - - layer, - - - Am, - - - screens, - - - Margreet, - - - aimed, - - - trained, - - - toys, - - - chunks, - - - Aux, - - - select, - - - Frith, - - - conventional, - - - hematite, - - - flaws, - - - takes, - - - CONCRETE, - - - contains, - - - manage, - - - two, - - - ethos, - - - Pay2Print, - - - Montgermont, - - - allegorical, - - - Connor, - - - mysterious, - - - Conlon, - - - more, - - - Adagio, - - - Defne, - - - remixes, - - - initiated, - - - extra-musical, - - - thus, - - - St, - - - instrumental, - - - ambience, - - - American, - - - So, - - - stick, - - - impulse, - - - surrounds, - - - known, - - - factories, - - - glad, - - - town, - - - hardware, - - - include, - - - Stump, - - - Afterwards, - - - hour, - - - anxieties, - - - Gods, - - - der, - - - plagiarise, - - - Romanticism, - - - Tonight, - - - huge, - - - remain, - - - sent, - - - den, - - - virtuosic, - - - converts, - - - playable, - - - rigid, - - - spontaneous, - - - Anarchy, - - - SE, - - - history, - - - beautiful, - - - Funny, - - - ready, - - - Pretty, - - - Bladel, - - - stated, - - - courtesies, - - - Fersteinn, - - - baleful, - - - galleries, - - - share, - - - Klangwerkstatt, - - - Aksiom, - - - states, - - - pushed, - - - fiercely, - - - CAN, - - - purchased, - - - sense, - - - interpreted, - - - phrase, - - - scan-processed, - - - scar, - - - Glasgow, - - - tapestry, - - - information, - - - frakativ, - - - processors, - - - rather, - - - stickers, - - - acts, - - - enlarge, - - - dismissed, - - - psycho-acoustic, - - - occasionally, - - - sacred, - - - Fall, - - - civilisation, - - - detonation, - - - Hanover, - - - plant, - - - Don, - - - tried, - - - subversive, - - - Adapter, - - - 1970s, - - - derived, - - - Dog, - - - soundtrack, - - - fa, - - - Rozendaal, - - - lighting, - - - waves, - - - Charlemagne, - - - Lisa, - - - Sophie, - - - authentic, - - - response, - - - harsh, - - - a, - - - transposed, - - - changes, - - - imagery, - - - Winehouse, - - - Orchestra, - - - reinterpret, - - - Software, - - - loud, - - - Dunkelmann, - - - departure, - - - Reykjavík, - - - coal, - - - custom-built, - - - broadcasting, - - - choreographies, - - - Sean, - - - transposes, - - - Seal, - - - Plus, - - - Filo, - - - playing, - - - hypnotising, - - - What, - - - implosions, - - - help, - - - conceptualisation, - - - surrealist, - - - developed, - - - ROTTERDAM, - - - soon, - - - installed, - - - CRUSH, - - - held, - - - thermal, - - - English-language, - - - Nancarrow, - - - unite, - - - Methi, - - - signs, - - - existence, - - - kinetic, - - - WIELS, - - - Oct, - - - PIKSEL, - - - features, - - - 24, - - - controllable, - - - style, - - - Marco, - - - March, - - - 21, - - - 22, - - - chants, - - - Where, - - - border, - - - Laetitia, - - - blurring, - - - actually, - - - late, - - - parallelling, - - - detected, - - - parts, - - - microscopic, - - - systems, - - - Hamburg, - - - founders, - - - release, - - - travelling, - - - team, - - - might, - - - thereafter, - - - Cushh, - - - Sound, - - - stability, - - - good, - - - Tantalum, - - - Bas, - - - focus, - - - seeking, - - - food, - - - sucker, - - - Michael, - - - L, - - - unusable, - - - Harpverk, - - - framework, - - - walls, - - - Era, - - - Pinkie, - - - DOB073, - - - misuse, - - - adventurous, - - - bigger, - - - instructions, - - - mystery, - - - feet, - - - Liar, - - - Elliot, - - - even, - - - fully, - - - Newton, - - - Foerster, - - - normally, - - - Silver, - - - Lasha, - - - courses, - - - submit, - - - Council, - - - Scottish, - - - found, - - - repeating, - - - difficult, - - - Ray, - - - M, - - - fragile, - - - End, - - - mental, - - - ever-evolving, - - - interweaving, - - - generation, - - - 8-INCH, - - - energy, - - - thirteenth, - - - essentially, - - - idea, - - - used, - - - engaging, - - - Klafferi, - - - investigated, - - - connect, - - - undertake, - - - http, - - - operation, - - - beyond, - - - event, - - - Were, - - - More, - - - Charts, - - - try, - - - initiatives, - - - funding, - - - missed, - - - 29, - - - p, - - - electronic, - - - Antwerp-based, - - - Samuel, - - - continually, - - - projected, - - - publish, - - - research, - - - Nelly, - - - participants, - - - 7, - - - print, - - - Soulja, - - - Participants, - - - issue, - - - occurs, - - - Sat, - - - synthesizer, - - - Vegetable, - - - lathe, - - - Arnhem, - - - belief, - - - Hour, - - - Attali, - - - roofs, - - - phi001, - - - Keyboard, - - - According, - - - lesser, - - - Drama, - - - Una, - - - experimenting, - - - base, - - - Nine, - - - Architecture, - - - members, - - - organising, - - - put, - - - Onomatopee, - - - teach, - - - rises, - - - beginning, - - - generate, - - - Gallium, - - - bushes, - - - sampled, - - - pairs, - - - thread, - - - People, - - - Bleeding, - - - Bocelli, - - - computers, - - - Contempory, - - - noted, - - - conducted, - - - theoreticians, - - - Haan, - - - Darwinian, - - - Eczema, - - - conductors, - - - locations, - - - forsooth, - - - major, - - - engagement, - - - SynthFont, - - - Clean, - - - feel, - - - relate, - - - Fri, - - - soundscapes, - - - number, - - - Higinbotham, - - - well-known, - - - Synthesizer, - - - enlarged, - - - done, - - - mobile, - - - blank, - - - Wombats, - - - miss, - - - poésie, - - - three-dimensional, - - - passes, - - - guess, - - - guest, - - - Cage, - - - introduction, - - - interwoven, - - - interact, - - - internal, - - - least, - - - tradition, - - - belongs, - - - station, - - - Chokehold, - - - passed, - - - Hilde, - - - Belgium, - - - entrepreneur, - - - Transparent, - - - store, - - - attendants, - - - one-note, - - - Jovi, - - - Currently, - - - statement, - - - relationship, - - - trapped, - - - audiences, - - - Sláturtíð, - - - park, - - - immediate, - - - optical, - - - Transmitted, - - - authors, - - - focusing, - - - undertakes, - - - translation, - - - sheer, - - - convinced, - - - Road, - - - oscillate, - - - kind, - - - grew, - - - determines, - - - Serduchka, - - - double, - - - anticipate, - - - aan, - - - Matthieu, - - - aims, - - - recording, - - - underpinning, - - - determined, - - - contrary, - - - supposed, - - - seamlessly, - - - cheironmy, - - - treated, - - - builder, - - - interactive, - - - Teddy, - - - shifted, - - - playability, - - - annunciatory, - - - God, - - - alongside, - - - organisations, - - - programmable, - - - Douglas, - - - roughly, - - - direct, - - - booklets, - - - re-vegetation, - - - Rhythm, - - - blackers, - - - Got, - - - concentration, - - - sensual, - - - Pask, - - - Witt, - - - mountain, - - - Albert-Ludwigs-Universität, - - - Founding, - - - built, - - - Jürgenson, - - - Iceland, - - - Dec, - - - majority, - - - find, - - - labour, - - - Näätämö, - - - Gert-Jan, - - - Kim, - - - bouncing, - - - Focusing, - - - With, - - - Traffic, - - - play, - - - added, - - - electric, - - - outhouse, - - - Plasticism, - - - serve, - - - Thu, - - - Artists, - - - reach, - - - unceremoniously, - - - Artez, - - - 77, - - - plunder, - - - attempt, - - - Gris, - - - plan, - - - eaten, - - - position, - - - Delft, - - - The, - - - Disco, - - - extremely, - - - overwritable, - - - evokes, - - - Represent, - - - mineral, - - - Zee, - - - exchanges, - - - performances, - - - clear, - - - sometimes, - - - cover, - - - TMIDI, - - - tangible, - - - traditional, - - - three-month, - - - XY, - - - artistic, - - - timbres, - - - Armageddon, - - - realised, - - - physics, - - - institutions, - - - Arezzo, - - - stones, - - - Lennox, - - - celebrated, - - - particularly, - - - vinyls, - - - gold, - - - disturbances, - - - reassembled, - - - Uniting, - - - Aurelie, - - - si, - - - relation, - - - carefully, - - - octaves, - - - melody, - - - Has, - - - networks, - - - impact, - - - indicator, - - - believe, - - - Martens, - - - parameters, - - - Theodore, - - - Gym, - - - writer, - - - French, - - - aren, - - - increasingly, - - - DAAD, - - - Orm, - - - generators, - - - Wrote, - - - pretty, - - - captures, - - - 8, - - - jumpcuts, - - - ten-minute, - - - Gaudino, - - - harvested, - - - hip, - - - Beautiful, - - - his, - - - founding, - - - computer-derived, - - - notation, - - - compiled, - - - she, - - - geophones, - - - Otherwise, - - - cheaper, - - - Crystal, - - - While, - - - Reich, - - - actions, - - - closely, - - - international, - - - combinations, - - - during, - - - Feldman, - - - silk, - - - Institutions, - - - Guðmundur, - - - Brecht, - - - America, - - - Multilingualism, - - - Trans-acoustic, - - - Geologists, - - - performers, - - - adhering, - - - Anyway, - - - remove, - - - Improper, - - - GUEDES, - - - investigate, - - - mistakes, - - - common, - - - SEQUENCER, - - - withdrawal, - - - x, - - - engraved, - - - Tempest, - - - wrote, - - - wrongfully, - - - apparatuses, - - - Me, - - - bars, - - - set, - - - art, - - - For, - - - Morse, - - - DENOTING, - - - Forever, - - - grey, - - - choreographed, - - - collectively, - - - see, - - - individual, - - - cantorum, - - - are, - - - mediators, - - - close, - - - Foo, - - - analog, - - - Lætitia, - - - fine-tuned, - - - Calabria, - - - learnt, - - - expert, - - - Song, - - - muted, - - - pictures, - - - currently, - - - Park, - - - BY, - - - Nguyen, - - - representatives, - - - won, - - - Feist, - - - GREATEST, - - - Simpson, - - - Richards, - - - Sony, - - - burned, - - - conditions, - - - To, - - - solo, - - - Murmansk, - - - Media, - - - creating, - - - essay, - - - complementary, - - - initially, - - - interfaces, - - - attention, - - - electro-instrumental, - - - untouched, - - - Sand, - - - renewed, - - - Annie, - - - African, - - - invisible, - - - Leona, - - - Japanese, - - - AND, - - - Pa-Ra-Di-So, - - - Ståhl, - - - last, - - - widest, - - - desired, - - - influential, - - - tonality, - - - Curran, - - - previously, - - - foreign, - - - Steve, - - - thinking, - - - connection, - - - became, - - - Backfire, - - - context, - - - Arachnes, - - - pdf, - - - mediation, - - - whole, - - - Yet, - - - experimental, - - - millions, - - - liked, - - - soundings, - - - point, - - - reasons, - - - reinterpretation, - - - kilometers, - - - Grøn, - - - community, - - - Chico, - - - improper, - - - dancer, - - - platform, - - - church, - - - Fratelli, - - - Above, - - - throughout, - - - ELECTRONIC, - - - War, - - - sine, - - - weaving, - - - Brothers, - - - originators, - - - instrument, - - - pz, - - - My, - - - create, - - - implosion, - - - creativity, - - - due, - - - evoking, - - - Creation, - - - Most, - - - detuning, - - - citations, - - - complicated, - - - Carl, - - - synth, - - - improvise, - - - extends, - - - Heroes, - - - territory, - - - meeting, - - - woke, - - - 4, - - - box, - - - generating, - - - partly, - - - 01, - - - Princeton, - - - performance-based, - - - Scores, - - - exposed, - - - N, - - - slag, - - - repertoire, - - - whatever, - - - sleeves, - - - specifically, - - - Internet, - - - Academie, - - - prices, - - - Starting, - - - likened, - - - plants, - - - Johannes, - - - replaces, - - - Booty, - - - look, - - - transcriptions, - - - straight, - - - expanded, - - - twenty, - - - By, - - - OBJECT, - - - 33, - - - Fighters, - - - Tinna, - - - College, - - - Change, - - - behavior, - - - Signification, - - - anitation, - - - Cold, - - - animated, - - - Arduino-powered, - - - guide, - - - Cola, - - - City, - - - DOB, - - - studied, - - - Italy, - - - century, - - - incredible, - - - von, - - - geologists, - - - encountered, - - - in-residence, - - - itself, - - - JULIA, - - - valorises, - - - facade, - - - Come, - - - 34, - - - definitive, - - - Shena, - - - vibratory, - - - Eyes, - - - Esther, - - - anymore, - - - Travis, - - - Copperman, - - - belong, - - - spines, - - - wherein, - - - shorter, - - - read, - - - discourse, - - - vulnerable, - - - widely, - - - Island, - - - 9, - - - resulting, - - - chain, - - - Post-war, - - - composition, - - - superfast, - - - development, - - - sell, - - - About, - - - arrives, - - - forced, - - - keys, - - - reuse, - - - gallery, - - - friends, - - - Goudron, - - - moment, - - - 000, - - - moving, - - - cleaning, - - - Shins, - - - haunting, - - - confines, - - - weird, - - - focal, - - - Con, - - - tried-and-failed, - - - Project, - - - PRINCIPIUM, - - - Joost, - - - sedimentologists, - - - dystopian, - - - MIDI, - - - Almost, - - - Technology, - - - Oostzijde, - - - depending, - - - redesigned, - - - anybody, - - - obviously, - - - communicated, - - - MAMPlayer, - - - edge, - - - reflect, - - - inspirational, - - - self-education, - - - Girl, - - - Dennis, - - - interweaves, - - - stating, - - - comprise, - - - things, - - - abilities, - - - pigeons, - - - Varia, - - - FR, - - - snow, - - - sequencing, - - - shape, - - - questions, - - - behind, - - - talk, - - - crackles, - - - Tiesto, - - - aiming, - - - preparations, - - - STEIM, - - - providing, - - - Band, - - - Technocultural, - - - scales, - - - 67P, - - - Staal, - - - source, - - - subjects, - - - deliberately, - - - exhibition, - - - born, - - - input, - - - guarantees, - - - PRESENTATION, - - - transformation, - - - Both, - - - Giulia, - - - Faster, - - - Oh, - - - Did, - - - Of, - - - couple, - - - revenue, - - - foreshadow, - - - cheironomy, - - - Gordon, - - - regeneration, - - - finding, - - - game, - - - Ain, - - - Aid, - - - bit, - - - Or, - - - projects, - - - formal, - - - pertinent, - - - lost, - - - Pendulum, - - - shaped, - - - follows, - - - facets, - - - disks, - - - multicultural, - - - Giralt, - - - associate, - - - manifest, - - - shapes, - - - collect, - - - Political, - - - continue, - - - Wiesbaden, - - - popular, - - - Fine, - - - Nico, - - - mathematical, - - - Sámi, - - - ecology, - - - Java, - - - million-note, - - - Dancing, - - - affects, - - - Flanders, - - - creation, - - - some, - - - back, - - - metres, - - - understood, - - - Linkin, - - - ARTKILLART, - - - co-curator, - - - complete, - - - mirror, - - - curious, - - - ourselves, - - - Economy, - - - delivered, - - - scale, - - - multidimensional, - - - tools, - - - decision, - - - integration, - - - per, - - - waveform, - - - pen, - - - eliminate, - - - perception, - - - quote, - - - Reijnoudt, - - - fragments, - - - dating, - - - Yann, - - - temple, - - - resolutely, - - - inserting, - - - Boy, - - - claimed, - - - object, - - - run, - - - IRREGULAR, - - - Brianstorm, - - - Wikia, - - - Darmstädt, - - - processing, - - - conceptually, - - - O, - - - David, - - - Sandin, - - - step, - - - Australia, - - - viewpoints, - - - Cascada, - - - Bon, - - - served, - - - Davis, - - - from, - - - Bob, - - - intense, - - - analysing, - - - spontaneity, - - - hidden, - - - Bart, - - - anything, - - - constraint, - - - coexist, - - - tracing, - - - Touhou, - - - samplers, - - - audible, - - - unintentional, - - - range, - - - involving, - - - Apologize, - - - PU, - - - Pong, - - - complimentary, - - - silence, - - - misplaced, - - - computational, - - - real, - - - HELGA, - - - into, - - - within, - - - nonsense, - - - Bennet, - - - framed, - - - Shirasagi, - - - Arachne, - - - selected, - - - Hearts, - - - factor, - - - Avenged, - - - guideline, - - - Johansson, - - - rolls, - - - Beginning, - - - Ingólfsson, - - - statistics, - - - classical, - - - placing, - - - question, - - - Casio, - - - long, - - - custom, - - - Freiburg, - - - Platinum, - - - DRIVE, - - - camera, - - - downloadable, - - - Placements, - - - Caput, - - - Nadine, - - - prostitute, - - - Ross, - - - vanBasco, - - - opens, - - - audio-visual, - - - files, - - - mountains, - - - himself, - - - elsewhere, - - - Hilmar, - - - poster, - - - atop, - - - memory, - - - 0167, - - - assisting, - - - Strings, - - - flawed, - - - properly, - - - reed, - - - Franklin, - - - filed, - - - Guedes, - - - line, - - - infers, - - - Eventually, - - - Enschede, - - - Loaf, - - - Office, - - - Doing, - - - ut, - - - sounds, - - - Bennett, - - - up, - - - us, - - - Hudgens, - - - acousmatic, - - - VECTOR, - - - exploration, - - - today, - - - planes, - - - continuously, - - - Knierzinger, - - - autonomous, - - - MacDiarmid, - - - similar, - - - called, - - - MS20, - - - Borrow, - - - Kingston, - - - associated, - - - worthwhile, - - - interventions, - - - defined, - - - m, - - - influence, - - - accessibility, - - - metals, - - - Tcherepnin, - - - images, - - - single, - - - sharing, - - - Aalto, - - - ingredients, - - - chat, - - - Memory, - - - wove, - - - braunkohle, - - - Presentation, - - - Manhattan, - - - as, - - - journalists, - - - Verostko, - - - Mar, - - - logistically, - - - Niek, - - - May, - - - Max, - - - endurance, - - - sessions, - - - composing, - - - Kimmy, - - - Athena, - - - thinks, - - - application, - - - WORKSHOP, - - - actors, - - - recognition, - - - income, - - - interpretable, - - - Mal, - - - nice, - - - draw, - - - elements, - - - spectators, - - - Gingeas, - - - lend, - - - favourite, - - - deskilled, - - - visits, - - - AN, - - - lens, - - - intensified, - - - meaning, - - - AU, - - - graphically, - - - focuses, - - - Price, - - - depicting, - - - Audio, - - - structure, - - - dimensions, - - - ago, - - - bases, - - - remix, - - - land, - - - e, - - - Mika, - - - spraying, - - - consumer, - - - age, - - - vehicles, - - - holes, - - - visual, - - - An, - - - 2002, - - - Beuys, - - - As, - - - aligned, - - - 2006, - - - 2007, - - - temporalities, - - - utilises, - - - failures, - - - 2008, - - - 2009, - - - requires, - - - having, - - - once, - - - Vectrex, - - - discards, - - - capacities, - - - code, - - - Based, - - - Bologna, - - - Deterministic, - - - Beyonce, - - - resistance, - - - produce, - - - existing, - - - psyche, - - - overlap, - - - broader, - - - Department, - - - Koopa, - - - psycho, - - - cases, - - - issues, - - - seemed, - - - theorist, - - - compose, - - - Razorlight, - - - deterministic, - - - Billiam, - - - Timo, - - - languages, - - - Post-Repeating, - - - topic, - - - does, - - - capturing, - - - Not, - - - details, - - - Nov, - - - Now, - - - wailing, - - - resources, - - - Sonido, - - - family, - - - labels, - - - infinite, - - - expressing, - - - Canadian, - - - continues, - - - Calvin, - - - engineered, - - - Ziegler, - - - Following, - - - P, - - - manipulated, - - - putting, - - - Theater, - - - 505, - - - continued, - - - recorder, - - - categories, - - - JoJo, - - - entire, - - - emancipate, - - - Maurice, - - - fast-paced, - - - positions, - - - notes, - - - colors, - - - Vaast, - - - this, - - - registers, - - - Jakobson, - - - evening, - - - affective, - - - materialised, - - - Partiro, - - - configurations, - - - logistics, - - - smaller, - - - Orson, - - - visuals, - - - seventies, - - - Bing, - - - Atli, - - - Long, - - - PZI_XPUB, - - 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medieval, - - - multiple, - - - selecting, - - - Official, - - - Up, - - - expansion, - - - host, - - - Exotica, - - - although, - - - accompanied, - - - described, - - - imaginary, - - - MARTENS, - - - paste, - - - beneath, - - - publishing, - - - Willem, - - - about, - - - lifestyle, - - - world, - - - impose, - - - explorative, - - - or, - - - brainwaves, - - - all-dominating, - - - US, - - - Event, - - - jukebox, - - - tradable, - - - carrier, - - - UK, - - - Cars, - - - insufficient, - - - introduced, - - - documentary, - - - Arctic, - - - software, - - - individually, - - - own, - - - neumens, - - - suited, - - - enough, - - - political, - - - Arts, - - - articulate, - - - three, - - - assess, - - - Iraqi, - - - promise, - - - tiny, - - - singing, - - - artists, - - - strategy, - - - 1985, - - - 1982, - - - 1983, - - - 1980, - - - 1981, - - - utopias, - - - Necrofantasia, - - - challenged, - - - Clock, - - - limit, - - - s-sake, - - - popularity, - - - Amy, - - - intention, - - - live-made, - - - utopian, - - - Listening, - - - Dust, - - - California, - - - November, - - - Museum, - - - interferometry, - - - rhythmic, - - - prophetic, - - - north, - - - SCORES, - - - overlaps, - - - Science, - - - Interestingly, - - - Well, - - - overlapping, - - - volume, - - - reminds, - - - Arsenale, - - - mailed, - - - gain, - - - technician, - - - ear, - - - Chelsea, - - - Sculptress, - - - he, - - - count, - - - time-lapse, - - - made, - - - tactics, - - - places, - - - INFORMATIVE, - - - Wall, - - - official, - - - smooth, - - - copy-zine, - - - signed, - - - covers, - - - Gourdon, - - - below, - - - frequency, - - - stories, - - - empty, - - - REMCO, - - - demonstrate, - - - problem, - - - Þosteinsdóttir, - - - minutes, - - - display, - - - dots, - - - non-existent, - - - Paradiso, - - - devise, - - - opera, - - - universal, - - - Writer, - - - condition, - - - CIRCULAIRE, - - - ordering, - - - utensils, - - - beats, - - - CH, - - - right, - - - periods, - - - relates, - - - crystals, - - - Intersections, - - - identities, - - - proceeds, - - - musicology, - - - Mining, - - - Perfect, - - - nonetheless, - - - blackens, - - - allow, - - - Sunshine, - - - detail, - - - virtual, - - - Delivery, - - - longer, - - - Dearest, - - - Know, - - - Besides, - - - Lieven, - - - Buckminster, - - - Hurk, - - - chemist, - - - YANN, - - - Detmold, - - - February, - - - repeat, - - - Like, - - - plate, - - - consisted, - - - micro-capacitors, - - - Chili, - - - Sreeuwenberg, - - - stay, - - - foil, - - - U, - - - Every, - - - came, - - - seismic, - - - LOCAL, - - - Musical, - - - South, - - - inspiration, - - - spodumene, - - - Dykeenies, - - - Was, - - - starting, - - - Thus, - - - lasted, - - - original, - - - narrative, - - - counter-energy, - - - situations, - - - DUPAC, - - - searched, - - - lives, - - - Happen, - -] diff --git a/wordlist.json b/wordlist.json index 35117de..83ef633 100644 --- a/wordlist.json +++ b/wordlist.json @@ -1 +1 @@ -{"stuff": [{"id": "06", "sentence": "Shit like that, really great stuff."}, {"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}], "chat": [{"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}], "focal": [{"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}], "date": [{"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}], "allegorical": [{"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "longer": [{"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}], "Kirkenes": [{"id": "27", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "27", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}], "contributed": [{"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}], "try": [{"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "Fabriek": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "columbite": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "jive": [{"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}], "Hilmar": [{"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "St": [{"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}], "publishing": [{"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}, {"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "02", "sentence": "TGC#3 is a particular kind of publishing platform engineered for sonic experiments, instruments and installations."}, {"id": "04", "sentence": "His studio work focuses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "This not only counts for publishing but also for exploring new possibilities for artist practice in general."}], "deltas": [{"id": "27", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}], "reverence": [{"id": "09", "sentence": "Jakobson has great reverence for intuition and it's use as a technology within her work."}, {"id": "26", "sentence": "The sonification of spider webs asserts a reverence for the environment, the beauty of the ephemeral and loss."}], "conductor": [{"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}], "OBJECT": [{"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}], "economic": [{"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}], "Dare": [{"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}], "authentic": [{"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}], "differences": [{"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "13", "sentence": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}], "poet": [{"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}], "Siberia": [{"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "channel": [{"id": "19", "sentence": "Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}], "sixties": [{"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}], "seems": [{"id": "06", "sentence": "DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job."}], "transitioned": [{"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}], "deep": [{"id": "27", "sentence": "The composition follows a more or less linear path, starting with 'deep' time."}, {"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "The composition follows a more or less linear path, starting with 'deep' time."}, {"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "27", "sentence": "It doesn't relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "The composition follows a more or less linear path – starting with deep time."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "27", "sentence": "It doesn't relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "The composition follows a more or less linear path – starting with deep time."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}], "ran": [{"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}], "scan-processed": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}], "Moment": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "cleave": [{"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "Lætitia": [{"id": "11", "sentence": "For this multi-vocal composition, Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}], "designing": [{"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job designing the packaging."}], "most": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "22", "sentence": "In that way, the most irregular things can become very intelligible."}, {"id": "26", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "31", "sentence": "One of Marco's most-known projects is called 'Black Mass Implosion'."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}], "Woody": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "might": [{"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "The improvisation might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}], "real": [{"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}, {"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}, {"id": "06", "sentence": "Does it feel like that for you too: As your first 'real' album, as a statement?"}, {"id": "06", "sentence": "Does it feel like that for you too: As your first 'real' album, as a statement?"}, {"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "13", "sentence": "Yet these alternate approaches brought us together and made 'Pushing Scores' real."}, {"id": "13", "sentence": "Yet these alternate approaches brought us together and made 'Pushing Scores' real."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "19", "sentence": "The performance 'frikativ' is real-time generated visual and sound poetry."}, {"id": "19", "sentence": "The performance 'frikativ' is real-time generated visual and sound poetry."}], "announcement": [{"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "31", "sentence": "A huge public announcement system was in the office blazing loud, but very articulated sound."}], "proposes": [{"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "questions": [{"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: What power does art have to change us and our society?"}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}, {"id": "27", "sentence": "These questions are really haunting me ."}], "harmonies": [{"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}], "Samuel": [{"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}], "Charlotte": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Informed": [{"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}], "GEMA": [{"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}], "beginning": [{"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "28", "sentence": "Since the beginning of his practice, he has made extensive use of recorded sound."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}], "trained": [{"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}], ";": [], "kullbingen": [{"id": "27", "sentence": "She still stores coal there in a small outhouse (called 'kullbingen')."}], "Brian": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Yukki": [{"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}], "unintentional": [{"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}], "video": [{"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "25", "sentence": "She works with sound, video, installation and performance."}, {"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}, {"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}], "Stadslimiet": [{"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}, {"id": "06", "sentence": "It was presented at Stadslimiet, Antwerp, as an installation piece on 2 Jul 2015."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "The interview was conducted after he exhibited 'Principium 2.0' in an installation setting at Stadslimiet, Antwerp."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}], "cracked": [{"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}], "tonewheels": [{"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}], "person": [{"id": "27", "sentence": "I am drawn to the Arctic as a sound person because of its relative remoteness."}], "identify": [{"id": "27", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}], "Symphony": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "it": [{"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Some dare to say that it’s a kind of jukebox."}, {"id": "02", "sentence": "‘Fred Flintstone meets the twenty-first century’, it was referred to as."}, {"id": "04", "sentence": "It’s not a matter of an event between spectators and a musician– it’s a space to submit to a process."}, {"id": "04", "sentence": "Within it, he develops the reciprocity of music and architecture, and of sound and image."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "He was intrigued by the invitation, but it took a long time to develop."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "Pretty nonsensical in a way, but it produced a really beautiful, and quite fragile, result."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It's an iron board and it has the same visuals as the sticker sheets."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}, {"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Yet I felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}, {"id": "06", "sentence": "Kris Delacourt: Oh, I think it's definitely something that's still evolving."}, {"id": "06", "sentence": "So I don’t think I've quite finished with it, no."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Kris Delacourt: You do it in short sessions, hah."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "If something was interesting for a while, but didn't stay interesting, it had to go."}, {"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it's own."}, {"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "But it's still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "Kris Delacourt: I do look at it as a solo thing."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But Vaast, for instance, refuses to regard it as his doing."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "Art is letting things go, let it flow."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "Does it feel like that for you too: As your first 'real' album, as a statement?"}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "06", "sentence": "I don't think of it as a manifesto or anything."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or perhaps you would perceive it as a failure if it weren't enjoyable without the concept?"}, {"id": "06", "sentence": "Kris Delacourt: I certainly do hope that it's enjoyable."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "Until I tried it."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it's use as a technology within her work."}, {"id": "09", "sentence": "However, it was decided to start from the floppy disc as a medium."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "12", "sentence": "He calls this chapter 'Represent' because it is the project of the executive."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "At the time of writing it would have been quite prophetic."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "13", "sentence": "He sees it as punk, experimental, noise, investigative and critical, searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "20", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "24", "sentence": "Johannes Kreidler is a special case when it comes to composing."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "24", "sentence": "This makes it particularly interesting when viewed from the perspective of experimentation and unorthodox composing."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "How much influence does it have on a community?"}, {"id": "27", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope."}, {"id": "27", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "27", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "27", "sentence": "It doesn't relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "27", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "It's absurd when you start to think about it."}, {"id": "27", "sentence": "So much time is compressed in this material and it's burned up in minutes."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "27", "sentence": "In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it ."}, {"id": "27", "sentence": "It created a vacuum after it closed."}, {"id": "27", "sentence": "The landscape is fairly untouched, it is scarcely populated, it's desolate."}, {"id": "27", "sentence": "If you work against it, it will kill you."}, {"id": "27", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them ."}, {"id": "27", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "27", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "27", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "27", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "27", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "27", "sentence": "In practice it's quite mathematical, but it still it is part of the sound world too."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}, {"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}], "Piet": [{"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}], "roofs": [{"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "focusing": [{"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}], "multi": [{"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "11", "sentence": "For this multi-vocal composition, Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "He runs his own multi-instrumentalist quartet called Fersteinn."}, {"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}], "specialised": [{"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}], "BERGMARK": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "JOHANNES BERGMARK (SE) Johannes Bergmark is a Fylkingen-affiliated sound artist, instrument builder and piano technician."}], "Before": [{"id": "11", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "11", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "18", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "18", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "23", "sentence": "Before God needed to be invented there were man."}, {"id": "23", "sentence": "Before language there was the song."}, {"id": "23", "sentence": "Before the song there was the yodel,' As Bart Plantenga stated in his reading on yodeling."}, {"id": "23", "sentence": "Before God needed to be invented there were man."}, {"id": "23", "sentence": "Before language there was the song."}, {"id": "23", "sentence": "Before the song there was the yodel,' As Bart Plantenga stated in his reading on yodeling."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Koopa": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "bunkers": [{"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "group": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}], "composers": [{"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "17", "sentence": "He is inspiring for a lot of performance-based composers."}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}], "funny": [{"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}], "finest": [{"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}], "Baxter": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "one-time": [{"id": "06", "sentence": "It really was a one-time event, with the vinyls functioning as a tool, yes."}], "approach": [{"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "Varia will host the evening, and explain their ideas and approach to developing the archive."}, {"id": "21", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "24", "sentence": "His way of composing has a multimedia conceptual approach, which is mostly linked with processes in society."}, {"id": "25", "sentence": "Her archival approach and its political and personal implications are the starting point of this work."}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}, {"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}], "anime": [{"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}], "Kokmeijer": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "Guðmundur": [{"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "21", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "22", "sentence": "This technique of composing is performed by Guðmundur Steinn Gunnarsson and his quartet Fersteinn."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson has been part of DE PLAYER's programme with his quartet Fersteinn several times."}, {"id": "22", "sentence": "The idea of 'anitation' and the work of Guðmundur Steinn Gunnarsson fits perfectly within 'Pushing Scores'."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "financial": [{"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}], "cheironmy": [{"id": "18", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called 'cheironmy'."}], "reaction": [{"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}], "skills": [{"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}], "social": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}], "statement": [{"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "Does it feel like that for you too: As your first 'real' album, as a statement?"}, {"id": "06", "sentence": "And a statement..."}], "practical": [{"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "27", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}], "Keyboard": [{"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "release": [{"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "They were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}, {"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}], "inspired": [{"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}], "ensemble": [{"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}], "quality": [{"id": "04", "sentence": "Every aspect of his work deals with the quality of sound."}, {"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}], "Verge": [{"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "decided": [{"id": "02", "sentence": "One restriction was decided upon: The scores had to be presented on floppy disc."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "08", "sentence": "We decided to envision the framework for the installation as a three-dimensional staff to write down music."}, {"id": "09", "sentence": "However, it was decided to start from the floppy disc as a medium."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "28", "sentence": "When we met we had discussions about several professional subjects and decided to realise a publication."}], "becomes": [{"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "09", "sentence": "Transmitted through a beamer and an audio system, everything becomes visible and audible."}, {"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "27", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "endless": [{"id": "04", "sentence": "These works deal with continuity and endless accessibility."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}], "envision": [{"id": "08", "sentence": "We decided to envision the framework for the installation as a three-dimensional staff to write down music."}], "fresh": [{"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}], "earning": [{"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}], "Staal": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "booklets": [{"id": "06", "sentence": "Colson made two booklets in the 'Principium' series – comprised of reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}], "hah": [{"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "Kris Delacourt: You do it in short sessions, hah."}], "Bergmark": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "JOHANNES BERGMARK (SE) Johannes Bergmark is a Fylkingen-affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}], "blackens": [{"id": "31", "sentence": "This creates strong graphic works and partly blackens out the original score."}], "rich": [{"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}], "long": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Just so you can see them day and night, for roughly three weeks long."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "06", "sentence": "He was intrigued by the invitation, but it took a long time to develop."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Holzer often works through a long, rigorous process of self-education in electronics."}, {"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "31", "sentence": "Spectral Arrows' is an ongoing series of long-duration performances for guitar and electronics."}], "Akan": [{"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}], "guided": [{"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}], "artificial": [{"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}], "Filo": [{"id": "24", "sentence": "The Miami Project 'Anthem' by Filo & Peri feat."}], "signals": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "UNI": [{"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}, {"id": "29", "sentence": "On the spot, the audience could activate the UNI."}], "Nicole": [{"id": "24", "sentence": "Sandy 'Baby Fratelli' by The Fratellis 'Baby Love' by Nicole Scherzinger Feat."}], "Serial": [{"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "Starting": [{"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}], "Sophie": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "such": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}, {"id": "20", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}, {"id": "30", "sentence": "They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "brightness": [{"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "intense": [{"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "Sundown": [{"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}], "worthwhile": [{"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}], "their": [{"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}, {"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "02", "sentence": "Each student had to develop their own project around the process of making a score."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "They're just new pieces in their own right."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the working process."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "Varia will host the evening, and explain their ideas and approach to developing the archive."}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "When the webs are harvested, my hand affects their original form."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}, {"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "Jessica": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "filling": [{"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "detail": [{"id": "04", "sentence": "At every level of detail, the everyday sound of our urban surroundings is the focus of his work."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}], "physically": [{"id": "27", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "mining": [{"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "27", "sentence": "What is the relationship between the sounds of mining and the community that surrounds them?"}, {"id": "27", "sentence": "Where does mining stop?"}, {"id": "27", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope."}, {"id": "27", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "27", "sentence": "It doesn't relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "That's why I wanted to have a thread about the regeneration of mining areas."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "27", "sentence": "In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it ."}, {"id": "27", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}], "Just": [{"id": "01", "sentence": "Just so you can see them day and night, for roughly three weeks long."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}], "festivals": [{"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "continents": [{"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}], "north": [{"id": "27", "sentence": "The north of Norway is one of the oldest rock formations in the world."}], "implications": [{"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "Her archival approach and its political and personal implications are the starting point of this work."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}], "mobile": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "into": [{"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Later on, this developed into the type of musical notation we are familiar with in Western music."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "He then reassembled these line segments into new shapes and new lines."}, {"id": "06", "sentence": "Line segments which he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}, {"id": "10", "sentence": "It was a good concert and her way of working fit into our ideas of exploring graphic scores very well."}, {"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "13", "sentence": "It was an investigation into methodologies within his own artistic practice."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology and national security."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "25", "sentence": "Ana Guedes' project 'UNTITLED RECORDS' fits into our idea of finding new ways to compose very seamlessly."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "27", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}, {"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}, {"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "sphere": [{"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}], "reproducing": [{"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}], "Eckehard": [{"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}], "Giulia": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "abandoned": [{"id": "27", "sentence": "Both in active mines and in the abandoned mines and buildings surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "released": [{"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}], "probe": [{"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}], "si": [{"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "A seventh note, 'si' or 'ti', was added later."}], "la": [{"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}], "Friends": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "commercially": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}], "So": [{"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "01", "sentence": "So what is the current state of the graphic score?"}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "So the C note runs for tens minutes and the B note is something like five minutes and twenty seconds."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "So that's what happened."}, {"id": "06", "sentence": "So I don’t think I've quite finished with it, no."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "So I don't think I belong in the conceptual art section."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "So more drone, definitely."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "27", "sentence": "So much time is compressed in this material and it's burned up in minutes."}], "audio": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}, {"id": "04", "sentence": "They are intensified visual and audio perceptions in a specific space."}, {"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "09", "sentence": "Transmitted through a beamer and an audio system, everything becomes visible and audible."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}], "manipulate": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}], "synthesis": [{"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}], "response": [{"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "identity": [{"id": "13", "sentence": "He designed the publication and identity of the 'Aalto Natives' at the Finnish Pavilion of the 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "20", "sentence": "Cultural identity is therefore communicated through this."}, {"id": "20", "sentence": "The style and/or genre determine the identity."}], "Novalis": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "Know": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}, {"id": "24", "sentence": "by Band Aid 'Do Without My Love' by Nathan [UK] 'Do You Know?"}], "its": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "02", "sentence": "It has a Raspberry Pi sits at its core, and is programmed for several applications."}, {"id": "05", "sentence": "It is a complex work that nevertheless manages to remain simple and accessible in its final execution."}, {"id": "05", "sentence": "The commercial potential and its associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process as navigating its actualisation."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Software being processed creates its own temporal and spatial dimensions, which are staged for a public."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages throughout its history: 1."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "22", "sentence": "and took part in founding its festival Sláturtíð."}, {"id": "25", "sentence": "Her archival approach and its political and personal implications are the starting point of this work."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "27", "sentence": "I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}], "November": [{"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "vanished": [{"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}], "participate": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}], "DENOTING": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}], "Aurélie": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Hanover": [{"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}], "Witt": [{"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}], "Vegetable": [{"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}], "MS20": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}], "had": [{"id": "02", "sentence": "Each student had to develop their own project around the process of making a score."}, {"id": "02", "sentence": "All these scores then had to come together in one magazine/object."}, {"id": "02", "sentence": "One restriction was decided upon: The scores had to be presented on floppy disc."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, which determines the rhythm."}, {"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "If something was interesting for a while, but didn't stay interesting, it had to go."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "Resonanz' is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "All had worked with the medium of the vinyl record and added a new use/application."}, {"id": "11", "sentence": "The invitation was perfectly suited for a project in public space that he had in mind for 'Pushing Scores'."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "27", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "27", "sentence": "I had hundreds of cassette tapes, mostly TDK."}, {"id": "28", "sentence": "When we met we had discussions about several professional subjects and decided to realise a publication."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}], "2012": [{"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}], "stay": [{"id": "06", "sentence": "If something was interesting for a while, but didn't stay interesting, it had to go."}], "Alps": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "form": [{"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "05", "sentence": "This can be a performance, an object, a book or whatever other form he settles on."}, {"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "06", "sentence": "Together, all twelve records form the complete set, which one 'game' requires."}, {"id": "06", "sentence": "At least, that's where the initial form and the name came from."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "19", "sentence": "For this he developed specific software that generates poetry in spoken-word form."}, {"id": "20", "sentence": "Subcultures form through music."}, {"id": "20", "sentence": "Inspiration comes in the form of vocal poetry, 'poésie sonore' and text-sound composition."}, {"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}, {"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "26", "sentence": "When the webs are harvested, my hand affects their original form."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "factor": [{"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}], "Natives": [{"id": "13", "sentence": "He designed the publication and identity of the 'Aalto Natives' at the Finnish Pavilion of the 57th Venice Biennale."}], "Focusing": [{"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}], "sucker": [{"id": "06", "sentence": "And since I'm a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}], "published": [{"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}, {"id": "31", "sentence": "For this we published 8\" records with artists and labels."}], "Dave": [{"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}], "reference": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "11", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "18", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}], "anticlimax": [{"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}], "STATION": [{"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}], "satisfy": [{"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "Adapter": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "setting": [{"id": "06", "sentence": "The interview was conducted after he exhibited 'Principium 2.0' in an installation setting at Stadslimiet, Antwerp."}], "Maurice": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}], "Feat": [{"id": "24", "sentence": "Sandy 'Baby Fratelli' by The Fratellis 'Baby Love' by Nicole Scherzinger Feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Fe": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "HOOF": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}], "notation": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "Throughout 2016, 2017 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on, this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "21", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "21", "sentence": "This means animated notation."}, {"id": "22", "sentence": "Anitation' is the term for animated notation."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "23", "sentence": "Emptiness has that same relation with notation."}, {"id": "26", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}], "follow": [{"id": "06", "sentence": "And I follow that."}, {"id": "21", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "Instead of using traditional musical scores during the performance, the musicians follow specific instructions that move across a computer screen."}], "Gris": [{"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}], "underground": [{"id": "27", "sentence": "Listening underground is like reading the environment."}, {"id": "27", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "27", "sentence": "Through soundwaves geologists are able to map what is underground."}], "Jack": [{"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}], "satisfying": [{"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "TheTrueEnd": [{"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}], "enthusiastic": [{"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}], "just": [{"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "It just rang as very poetic to me."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to Morse code."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "They were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}, {"id": "06", "sentence": "They're just new pieces in their own right."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "That's just another way of letting things go, of giving up control."}, {"id": "27", "sentence": "The mountain just sits there."}, {"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "27", "sentence": "It just turned out that way, perhaps because that's how we generally tend to structure material."}], "audiovisual": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "10", "sentence": "The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}], "Schematic": [{"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}], "sign": [{"id": "20", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}], "customer": [{"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}], "Class": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "de-mass-splintering": [{"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}], "broken": [{"id": "07", "sentence": "The usual code of the record, as defined by the music industry, was broken in all works."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}], "above": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}], "telephone": [{"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called 'telephone adapters'."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called 'telephone adapters'."}, {"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}, {"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}], "se": [{"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}], "Council": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "na": [], "Chasing": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Japanese": [{"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}], "DAAD": [{"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}], "relative": [{"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "27", "sentence": "I am drawn to the Arctic as a sound person because of its relative remoteness."}], "all-dominating": [{"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}], "68": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "unusable": [{"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}], "improvisation": [{"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "06", "sentence": "The improvisation might be one of the major flaws, actually, conceptually speaking."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "09", "sentence": "As another example, Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "27", "sentence": "For this event, Kahn did some kind of improvisation session on the works of the three invited artists."}], "Con": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "without": [{"id": "02", "sentence": "This is a magazine without any format, with the intention for a new one to be developed each time."}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or perhaps you would perceive it as a failure if it weren't enjoyable without the concept?"}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "11", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "18", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}, {"id": "21", "sentence": "Gunnarsson's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "27", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics."}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "inside": [{"id": "11", "sentence": "An interactive graphic score/light box/kinetic work fixed inside the cabinet, and 2."}, {"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "subjects": [{"id": "28", "sentence": "When we met we had discussions about several professional subjects and decided to realise a publication."}], "visitors": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}], "applications": [{"id": "02", "sentence": "It has a Raspberry Pi sits at its core, and is programmed for several applications."}, {"id": "04", "sentence": "His studio work focuses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "13", "sentence": "His studio focuses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}], "attempts": [{"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}], "circular": [{"id": "26", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}], "own": [{"id": "02", "sentence": "Each student had to develop their own project around the process of making a score."}, {"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it's own."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "They're just new pieces in their own right."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpart to his own musical input."}, {"id": "10", "sentence": "Software being processed creates its own temporal and spatial dimensions, which are staged for a public."}, {"id": "13", "sentence": "It was an investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}, {"id": "22", "sentence": "He runs his own multi-instrumentalist quartet called Fersteinn."}, {"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}, {"id": "26", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "27", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "28", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}], "unique": [{"id": "04", "sentence": "His websites attract a large audience of over forty million unique visits per year."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "19", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}], "Owen": [{"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}], "level": [{"id": "04", "sentence": "At every level of detail, the everyday sound of our urban surroundings is the focus of his work."}, {"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}], "Dance": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}, {"id": "24", "sentence": "Team 'Don't' by Elvis Presley With The Jordanaires 'Don't Dance' by Midas 'Don't Give It Up' by Siobhan Donaghy"}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}, {"id": "24", "sentence": "Team 'Don't' by Elvis Presley With The Jordanaires 'Don't Dance' by Midas 'Don't Give It Up' by Siobhan Donaghy"}], "core": [{"id": "02", "sentence": "It has a Raspberry Pi sits at its core, and is programmed for several applications."}, {"id": "05", "sentence": "Colson's works examine core questions: What power does art have to change us and our society?"}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}], "get": [{"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "27", "sentence": "One is the waste you make to get to the ore."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "27", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "27", "sentence": "You have to take a boat to get there."}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "27", "sentence": "All to get to the desired result: The gold!"}], "burned": [{"id": "27", "sentence": "So much time is compressed in this material and it's burned up in minutes."}, {"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}], "generative": [{"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}], "painting": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}], "denote": [{"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}], "0.053mm": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "duplicated": [{"id": "05", "sentence": "The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself."}], "irrelevance": [{"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}], "inspirational": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}], "post-ironic": [{"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be referred to as 'post-ironic'."}], "12": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}], "Richards": [{"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}], "ART": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}], "places": [{"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}, {"id": "27", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}], "We": [{"id": "02", "sentence": "We proposed to the students that they devise an issue of our publication Tetra Gamma Circulaire."}, {"id": "02", "sentence": "We worked around the ideas present in our 'Pushing Scores' project."}, {"id": "02", "sentence": "We proposed to the students that they devise an issue of our publication Tetra Gamma Circulaire."}, {"id": "02", "sentence": "We worked around the ideas present in our 'Pushing Scores' project."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "05", "sentence": "We have known Vaast Colson to be an interesting artist for quite some time already."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "05", "sentence": "We have known Vaast Colson to be an interesting artist for quite some time already."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "06", "sentence": "We first encountered 'Principium 1.0'."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "We first encountered 'Principium 1.0'."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "08", "sentence": "We decided to envision the framework for the installation as a three-dimensional staff to write down music."}, {"id": "08", "sentence": "We decided to envision the framework for the installation as a three-dimensional staff to write down music."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "20", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "20", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "22", "sentence": "We also produced a limited polyurethane record with Fersteinn."}, {"id": "22", "sentence": "We also produced a limited polyurethane record with Fersteinn."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}, {"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "27", "sentence": "We can see layers of hematite."}, {"id": "27", "sentence": "We have a tunnel that leads there."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "27", "sentence": "We can see layers of hematite."}, {"id": "27", "sentence": "We have a tunnel that leads there."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}, {"id": "31", "sentence": "We got in touch with Marco Fusinato through our '8-INCH' series."}, {"id": "31", "sentence": "We got in touch with Marco Fusinato through our '8-INCH' series."}], "eighth": [{"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}], "totally": [{"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}], "imaginary": [{"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "Bouwman": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "logic": [{"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}], "composed": [{"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "replaces": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}], "biotopes": [{"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}], "Workers": [{"id": "27", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}], "Was": [{"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}], "Founding": [{"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "otherworldly": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}], "cassiterite": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "transform": [{"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}], "improper": [{"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}], "IS": [{"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}], "JODI": [{"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}], "product": [{"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "They were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "ranges": [{"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}], "Basically": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}], "camera": [{"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}], "oriented": [{"id": "22", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}], "undergoing": [{"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}], "Harris": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "determine": [{"id": "20", "sentence": "The style and/or genre determine the identity."}, {"id": "27", "sentence": "By physically interacting with the stone you can determine what material it is."}], "fjord": [{"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}], "speculative": [{"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}], "2011": [{"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}], "situation": [{"id": "20", "sentence": "In a multicultural situation, abstract sounds are forms of recognition; then there is, for example, music."}], "stone": [{"id": "27", "sentence": "It doesn't relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "27", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "27", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "27", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "27", "sentence": "Different types of stone give different frequency readings."}], "younger": [{"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be referred to as 'post-ironic'."}], "Incorporated": [{"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}], "Dan": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}], "Nine": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "labels": [{"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "31", "sentence": "For this we published 8\" records with artists and labels."}, {"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}], "conception": [{"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}], "weaving": [{"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}, {"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}], "compressed": [{"id": "27", "sentence": "So much time is compressed in this material and it's burned up in minutes."}, {"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "political": [{"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "25", "sentence": "Her archival approach and its political and personal implications are the starting point of this work."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "inductive": [{"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called 'telephone adapters'."}], "graphically": [{"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}], "God": [{"id": "23", "sentence": "Before God needed to be invented there were man."}], "interacting": [{"id": "27", "sentence": "By physically interacting with the stone you can determine what material it is."}], "show": [{"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Metrostation Maashaven."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}], "Spectral": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "Spectral Arrows' is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "Spectral Arrows' is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "conditions": [{"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}], "Sámi": [{"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "27", "sentence": "The Sámi have a lot of respect for nature."}], "food": [{"id": "31", "sentence": "Good food and drinks were served."}], "proceeds": [{"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "Break": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "working": [{"id": "04", "sentence": "JUSTIN BENNETT (UK) Justin Bennett is an artist working with sound and visual media."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the working process."}, {"id": "10", "sentence": "It was a good concert and her way of working fit into our ideas of exploring graphic scores very well."}, {"id": "13", "sentence": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}, {"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}, {"id": "27", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "27", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "Jamie": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Void": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}], "Simpson": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "R": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}], "typically": [{"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}], "Rivière": [{"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}], "Chokehold": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "renewed": [{"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}], "TV": [{"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}], "MAX": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}], "manipulation": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "27", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}], "spirit": [{"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "ever": [{"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}], "Lierman": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "27", "sentence": "Mining' by BJ Nilsen, 'Jazz' by Max Franklin and 'Earthquake' by Aurelie Lierman."}], "Principium": [{"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}, {"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}, {"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "06", "sentence": "We first encountered 'Principium 1.0'."}, {"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "This resulted in 'Principium 2.0'."}, {"id": "06", "sentence": "Principium' comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson made two booklets in the 'Principium' series – comprised of reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "Principium 2.0' is then another piece in step with the principle of Colson's original 'Principium'."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "We first encountered 'Principium 1.0'."}, {"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "This resulted in 'Principium 2.0'."}, {"id": "06", "sentence": "Principium' comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson made two booklets in the 'Principium' series – comprised of reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "Principium 2.0' is then another piece in step with the principle of Colson's original 'Principium'."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "This is an interview with Kris Delacourt (Remörk) on his practice and the 'Principium' story."}, {"id": "06", "sentence": "The interview was conducted after he exhibited 'Principium 2.0' in an installation setting at Stadslimiet, Antwerp."}, {"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "This is an interview with Kris Delacourt (Remörk) on his practice and the 'Principium' story."}, {"id": "06", "sentence": "The interview was conducted after he exhibited 'Principium 2.0' in an installation setting at Stadslimiet, Antwerp."}, {"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}], "Laboratories": [{"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}], "Peppers": [{"id": "24", "sentence": "Shena 'Dark Road' by Annie Lennox 'Delivery' by Babyshambles 'Desecration Smile' by Red Hot Chili Peppers 'Destination Calabria' by Alex Gaudino feat."}], "cassette": [{"id": "27", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "27", "sentence": "I had hundreds of cassette tapes, mostly TDK."}], "further": [{"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}], "discussed": [{"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}], "occurs": [{"id": "30", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}], "Four": [{"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "iterations": [{"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}], "Ch": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "rough": [{"id": "06", "sentence": "So you end up with a first rough selection."}], "tones": [{"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to Morse code."}, {"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "delivered": [{"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}], "Crumb": [{"id": "26", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}], "CaO": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Italy": [{"id": "28", "sentence": "He is currently a sound designer at the Art Academy of Bologna, Italy."}], "harvested": [{"id": "26", "sentence": "When the webs are harvested, my hand affects their original form."}, {"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}], "purposes": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}], "Mining": [{"id": "27", "sentence": "Mining' by BJ Nilsen, 'Jazz' by Max Franklin and 'Earthquake' by Aurelie Lierman."}], "64-bit": [{"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}], "fly": [{"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}], "demands": [{"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}], "Saedier": [{"id": "01", "sentence": "The work is voiced by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "The piece is voiced by Laetitia Saedier of Stereolab."}], "Life": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "crystals": [{"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}], "Karina": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}], "Jacques": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}], "Haraldsson": [{"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "cause": [{"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}], "particular": [{"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "02", "sentence": "TGC#3 is a particular kind of publishing platform engineered for sonic experiments, instruments and installations."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}], "Seal": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "And": [{"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job designing the packaging."}, {"id": "06", "sentence": "And since I'm a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "And I follow that."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "And a statement..."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}, {"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}], "ecology": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}], "FLOPPY": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}], "aims": [{"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}], "space": [{"id": "04", "sentence": "It’s not a matter of an event between spectators and a musician– it’s a space to submit to a process."}, {"id": "04", "sentence": "They are intensified visual and audio perceptions in a specific space."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "10", "sentence": "Vuksic considers the time and space of computer processing and memory as levels of reality."}, {"id": "11", "sentence": "The invitation was perfectly suited for a project in public space that he had in mind for 'Pushing Scores'."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}, {"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "Paik": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "game": [{"id": "06", "sentence": "Together, all twelve records form the complete set, which one 'game' requires."}, {"id": "06", "sentence": "Together, all twelve records form the complete set, which one 'game' requires."}, {"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}, {"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}], "issue": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "02", "sentence": "We proposed to the students that they devise an issue of our publication Tetra Gamma Circulaire."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB Records."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}], "thinks": [{"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}], "referring": [{"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}], "developments": [{"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}], "lack": [{"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "ungraspable": [{"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}], "Giovanelli": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "overall": [{"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "Crush": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}, {"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "open": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}, {"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}, {"id": "21", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "21", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "27", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "27", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "27", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "27", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}], "blazing": [{"id": "31", "sentence": "A huge public announcement system was in the office blazing loud, but very articulated sound."}], "afraid": [{"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}], "wanted": [{"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "27", "sentence": "That's why I wanted to have a thread about the regeneration of mining areas."}, {"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}], "industries": [{"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}], "million-note": [{"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}], "finished": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "So I don’t think I've quite finished with it, no."}], "Newton": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "RAM": [{"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}], "provocative": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}], "prepared": [{"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "In the case of the 'prepared record', the record or musical piece is not used as a reproductive technique."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "In the case of the 'prepared record', the record or musical piece is not used as a reproductive technique."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}], "force": [{"id": "06", "sentence": "Kris Delacourt: If you force me to choose between those two, then drone."}], "ethos": [{"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "object": [{"id": "02", "sentence": "All these scores then had to come together in one magazine/object."}, {"id": "02", "sentence": "The result is a combination of several media, which all coexist in a designed concrete object."}, {"id": "05", "sentence": "This can be a performance, an object, a book or whatever other form he settles on."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}], "yodeling": [{"id": "23", "sentence": "Before the song there was the yodel,' As Bart Plantenga stated in his reading on yodeling."}], "Eindhoven": [{"id": "04", "sentence": "He is also an art book publisher (Onomatopee, Eindhoven, and WdW Review, Rotterdam)."}], "complimented": [{"id": "14", "sentence": "It completely complimented our thinking around how to imagine the concept of composing and making scores."}], "characterised": [{"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}], "conceptual": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "So I don't think I belong in the conceptual art section."}, {"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "So I don't think I belong in the conceptual art section."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "24", "sentence": "His work is described as conceptual music."}, {"id": "24", "sentence": "His work is described as conceptual music."}, {"id": "24", "sentence": "His way of composing has a multimedia conceptual approach, which is mostly linked with processes in society."}, {"id": "24", "sentence": "His way of composing has a multimedia conceptual approach, which is mostly linked with processes in society."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "Of": [{"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "27", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}], "treatment": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}], "slurry": [{"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}], "Mitterrand": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}], "transducers": [{"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}], "Video": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}], "programmer": [{"id": "10", "sentence": "VALENTINA VUKSIC (CH/NL) Valentina Vuksic is a computer artist and programmer based in Zürich."}], "Zeus": [{"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "formations": [{"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "27", "sentence": "The north of Norway is one of the oldest rock formations in the world."}], "baleful": [{"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}], "developing": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "10", "sentence": "Varia will host the evening, and explain their ideas and approach to developing the archive."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}], "war": [{"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}], "linked": [{"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "24", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "24", "sentence": "His way of composing has a multimedia conceptual approach, which is mostly linked with processes in society."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}], "abuse": [{"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}], "final": [{"id": "05", "sentence": "It is a complex work that nevertheless manages to remain simple and accessible in its final execution."}, {"id": "06", "sentence": "The final installation will have twelve separate pieces: A complete octave."}, {"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "27", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}], "levels": [{"id": "10", "sentence": "Vuksic considers the time and space of computer processing and memory as levels of reality."}], "Scottish": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "custom": [{"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "visualises": [{"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "sylvinite": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Gareth": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "listener": [{"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}], "Borders": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "pitches": [{"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}], "Computer": [{"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}], "structural": [{"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}], "Peter": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "Peter brought six record players, matching the six colours of the vinyl nicely – two notes each."}, {"id": "06", "sentence": "There's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}], "Development": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}], "Mary": [{"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}], "currently": [{"id": "28", "sentence": "He is currently a sound designer at the Art Academy of Bologna, Italy."}], "holds": [{"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}], "Nicolas": [{"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}], "materials": [{"id": "27", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}], "relation": [{"id": "01", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "23", "sentence": "I think silence has that same relation with music."}, {"id": "23", "sentence": "Emptiness has that same relation with notation."}, {"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "foundation": [{"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}], "collages": [{"id": "06", "sentence": "Interestingly, he thought his resulting collages would be nice to use as scores – and they probably would have been."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}], "Duo": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "rests": [{"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}], "unexplored": [{"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}], "Fricatives": [{"id": "19", "sentence": "Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}], "choreographed": [{"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}], "Ståhl": [{"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}], "owner": [{"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}], "Mind": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "concentrate": [{"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}], "journalists": [{"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "overlapping": [{"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}, {"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}], "30": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "This was part of a test production of around 30,000 tons."}], "functioned": [{"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the working process."}], "ourselves": [{"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}], "Meanwhile": [{"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}], "collaborated": [{"id": "11", "sentence": "For this multi-vocal composition, Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}], "electric": [{"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "recent": [{"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "27", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}], "Students": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Conlon": [{"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}], "prototype": [{"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}], "offered": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}], "One": [{"id": "02", "sentence": "One restriction was decided upon: The scores had to be presented on floppy disc."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "24", "sentence": "Timbaland 'Another One Bites The Dust' by Queen vs."}, {"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}, {"id": "27", "sentence": "One is the waste you make to get to the ore."}, {"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "31", "sentence": "One of Marco's most-known projects is called 'Black Mass Implosion'."}], "instruction": [{"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}], "animation": [{"id": "21", "sentence": "Fersteinn works with the method of so-called 'animation'."}, {"id": "21", "sentence": "Fersteinn works with the method of so-called 'animation'."}, {"id": "22", "sentence": "This Icelandic quartet plays with little analogue instruments and animation scores Gunnarsson made on his computer."}, {"id": "22", "sentence": "This Icelandic quartet plays with little analogue instruments and animation scores Gunnarsson made on his computer."}], "horizon": [{"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}], "Klafferi": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "Willis": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "properties": [{"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}], "wrongfully": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}], "destruction": [{"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "considers": [{"id": "10", "sentence": "Vuksic considers the time and space of computer processing and memory as levels of reality."}, {"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}], "greenhouse": [{"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "brainwaves": [{"id": "04", "sentence": "For this event he will work with a film projection and a synthesizer, which he influences with his brainwaves."}, {"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}], "keys": [{"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}], "Dagger": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "1": [{"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "We first encountered 'Principium 1.0'."}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "11", "sentence": "The work consists of two parts: 1."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages throughout its history: 1."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "past": [{"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "27", "sentence": "What shifts happened in the past?"}, {"id": "27", "sentence": "Why did people in the past settle in an environment like this?"}], "text-sound": [{"id": "20", "sentence": "Inspiration comes in the form of vocal poetry, 'poésie sonore' and text-sound composition."}], "gray": [{"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}], "copier": [{"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}], "opportunity": [{"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}], "multicultural": [{"id": "20", "sentence": "In a multicultural situation, abstract sounds are forms of recognition; then there is, for example, music."}], "explains": [{"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}], "Riphagen": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "smooth": [{"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}], "Douga": [{"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}], "ArtEZ": [{"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}], "ephemerality": [{"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}], "Williams": [{"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "share": [{"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}, {"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}], "Australia": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}], "Moholy-Nagy": [{"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}], "arachnids": [{"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}], "sounds": [{"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "07", "sentence": "Julia's solo live performances primarily refer to the modified vinyl records that produce extraordinary sounds."}, {"id": "20", "sentence": "In a multicultural situation, abstract sounds are forms of recognition; then there is, for example, music."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "What is the relationship between the sounds of mining and the community that surrounds them?"}, {"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "The sounds are environmental."}, {"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "27", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "27", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "27", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "formal": [{"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "STRIPPED": [{"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}], "internal": [{"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "05", "sentence": "The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded."}], "consequences": [{"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}], "Contempory": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}], "extended": [{"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}], "Wikia": [{"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}], "City": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "Vanessa": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "consciously": [{"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}], "production": [{"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "27", "sentence": "This was part of a test production of around 30,000 tons."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "signal": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}], "TMIDI": [{"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "Kris": [{"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "Kris Delacourt)."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "This is an interview with Kris Delacourt (Remörk) on his practice and the 'Principium' story."}, {"id": "06", "sentence": "Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "Kris Delacourt: Oh, I think it's definitely something that's still evolving."}, {"id": "06", "sentence": "Kris Delacourt: Not really, at least not in this case."}, {"id": "06", "sentence": "Kris Delacourt: You do it in short sessions, hah."}, {"id": "06", "sentence": "Kris Delacourt: There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "06", "sentence": "Kris Delacourt: The 10\" records have all been sold as well, so they sit somewhere in the middle."}, {"id": "06", "sentence": "Kris Delacourt: I do look at it as a solo thing."}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "06", "sentence": "Kris Delacourt: If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "Kris Delacourt: I certainly do hope that it's enjoyable."}], "Back": [{"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}, {"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}], "SiO2": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "curious": [{"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}], "developed": [{"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "Later on, this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "02", "sentence": "This is a magazine without any format, with the intention for a new one to be developed each time."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpart to his own musical input."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "19", "sentence": "For this he developed specific software that generates poetry in spoken-word form."}, {"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "The musique concrète, as developed by Henry at GRM, was made by magnetic tape."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "29", "sentence": "Varia has developed a context and technical environment as a web-based archival publication."}, {"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "Verostko": [{"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}], "stacked": [{"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}], "encountering": [{"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}], "Underground": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "prints": [{"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}], "Moniker": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "Currently": [{"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}, {"id": "27", "sentence": "Currently, Kahn is researching new interfaces and possibilities of sound composition, image and performance."}], "VECTORIAN": [{"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "title": [{"id": "06", "sentence": "Principium' comes from the title of a project by Vaast Colson."}], "vast": [{"id": "27", "sentence": "It is a vast scar in the landscape, and really an incredible place."}], "extremis": [{"id": "24", "sentence": "This piece is to be seen as a plunder phonic composition in extremis."}], "manufacturers": [{"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}], "Vasuka": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}], "analytical": [{"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}], "TERRAIN": [{"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}], "device": [{"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}], "Ecology": [{"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}], "Ones": [{"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}], "collage": [{"id": "06", "sentence": "Or as a collage record?"}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}], "ice": [{"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "27", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}], "H2O": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "creativity": [{"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}], "China": [{"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}], "cubic": [{"id": "24", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}], "Crash": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "side": [{"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}], "whatever": [{"id": "05", "sentence": "This can be a performance, an object, a book or whatever other form he settles on."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}], "doomed": [{"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}], "musical": [{"id": "01", "sentence": "Later on, this developed into the type of musical notation we are familiar with in Western music."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "In the case of the 'prepared record', the record or musical piece is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpart to his own musical input."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}, {"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "21", "sentence": "Gunnarsson's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "21", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "Instead of using traditional musical scores during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}], "immersive": [{"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}], "Anyway": [{"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}], "traced": [{"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "engages": [{"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}], "course": [{"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "27", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}], "Luuk": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "complementary": [{"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}], "Fluxus": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}], "Kingston": [{"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}], "times": [{"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson has been part of DE PLAYER's programme with his quartet Fersteinn several times."}, {"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "27", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}], "tied": [{"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}], "arctic": [{"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}], "morphing": [{"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}], "College": [{"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}], "notes": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Peter brought six record players, matching the six colours of the vinyl nicely – two notes each."}, {"id": "06", "sentence": "Sometimes I preferred elements because of harmonic information, notes that work well together, sometimes because of rhythms that worked well, etc."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "30", "sentence": "The end titles of many black MIDI videos display how many notes are in the piece."}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "getting": [{"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}], "Jamelia": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Suede": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "designed": [{"id": "02", "sentence": "The result is a combination of several media, which all coexist in a designed concrete object."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "13", "sentence": "He designed the publication and identity of the 'Aalto Natives' at the Finnish Pavilion of the 57th Venice Biennale."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}], "monitors": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}], "tuned": [{"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}], "associated": [{"id": "05", "sentence": "The commercial potential and its associated value assessment are problematic for Colson."}, {"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "Cat": [{"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}], "projection": [{"id": "04", "sentence": "For this event he will work with a film projection and a synthesizer, which he influences with his brainwaves."}, {"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}, {"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}], "limited": [{"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "19", "sentence": "For 'Pushing Scores', we invited him to make special work for a limited edition."}, {"id": "22", "sentence": "We also produced a limited polyurethane record with Fersteinn."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}], "Another": [{"id": "24", "sentence": "Timbaland 'Another One Bites The Dust' by Queen vs."}], "responds": [{"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}], "presence": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}, {"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}, {"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}], "colors": [{"id": "04", "sentence": "They are cheap dummy books, onto which he poured ink in several colors."}], "serving": [{"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}], "exploration": [{"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}], "Pretty": [{"id": "06", "sentence": "Pretty nonsensical in a way, but it produced a really beautiful, and quite fragile, result."}], "wind": [{"id": "27", "sentence": "It's not like wind or the sun, which give you immediate energy."}], "taught": [{"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}], "organic": [{"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}], "tremble": [{"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "loosen": [{"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}], "meaningful": [{"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}], "away": [{"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}], "lend": [{"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "transparent": [{"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}], "Right": [{"id": "24", "sentence": "The Ping Pong Song)' by Enrique Iglesias 'Doing It Right' by The Go!"}], "him": [{"id": "06", "sentence": "to him."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "16", "sentence": "In the early 1960s, the composer Morton Subotnik employed engineer Don Buchla to help him create 'the music of the future'."}, {"id": "19", "sentence": "For 'Pushing Scores', we invited him to make special work for a limited edition."}, {"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "24", "sentence": "Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}], "inviting": [{"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}], "Bladel": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For this multi-vocal composition, Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "13", "sentence": "The entire 'Pushing Scores' project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer based in Amsterdam."}, {"id": "13", "sentence": "Remco van Bladel grew up in the record store of his father."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}], "Ellis-Bextor": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "archival": [{"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "25", "sentence": "Her archival approach and its political and personal implications are the starting point of this work."}, {"id": "29", "sentence": "Varia has developed a context and technical environment as a web-based archival publication."}], "rhythmic": [{"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "21", "sentence": "Gunnarsson's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}], "Design": [{"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}], "ingenious": [{"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}], "Fratellis": [{"id": "24", "sentence": "Sandy 'Baby Fratelli' by The Fratellis 'Baby Love' by Nicole Scherzinger Feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "graphical": [{"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}], "pz": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "behavior": [{"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}], "tantalum": [{"id": "27", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics."}], "WIFI": [{"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}], "As": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "06", "sentence": "As mentioned, the first version was a modified Casio keyboard."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "As mentioned, this is the short version, can you give me the full story?"}, {"id": "06", "sentence": "Does it feel like that for you too: As your first 'real' album, as a statement?"}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "As another example, Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "Before the song there was the yodel,' As Bart Plantenga stated in his reading on yodeling."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "Bobby": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "signs": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "18", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "code": [{"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to Morse code."}, {"id": "07", "sentence": "The usual code of the record, as defined by the music industry, was broken in all works."}], "Melanie": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "cut": [{"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}], "specifically": [{"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}], "Rotem-Stibbe": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "footwork": [{"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}], "discards": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}], "Onomatopee": [{"id": "04", "sentence": "He is also an art book publisher (Onomatopee, Eindhoven, and WdW Review, Rotterdam)."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}], "Xenakis-esque": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "possibility": [{"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "concert": [{"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "On the live oscilloscope concert Holzer states, 'The Vectorian Era opens with a screaming across the sky."}, {"id": "10", "sentence": "It was a good concert and her way of working fit into our ideas of exploring graphic scores very well."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}, {"id": "22", "sentence": "He also used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}], "caverns": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}], "scratched": [{"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "Source": [{"id": "11", "sentence": "For this multi-vocal composition, Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "ascending": [{"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}], "International": [{"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "failures": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "Metropolis": [{"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}], "Dog": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "drew": [{"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}], "Arnold": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}], "front": [{"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}], "focuses": [{"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "His studio work focuses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "09", "sentence": "As another example, Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "12", "sentence": "It was particularly of interested to us because of the way in which he focuses on the reproduction of music."}, {"id": "13", "sentence": "His studio focuses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "25", "sentence": "Her research focuses on the 'dialectic of tuning'."}], "misunderstanding": [{"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}], "languages": [{"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}], "studios": [{"id": "27", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "27", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}], "logistic": [{"id": "27", "sentence": "He also expanded his archive with all related logistic processes."}], "2016–2017": [{"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}], "adviser": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}], "sacred": [{"id": "27", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "Morse": [{"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to Morse code."}], "Bologna": [{"id": "28", "sentence": "He is currently a sound designer at the Art Academy of Bologna, Italy."}], "Laetitia": [{"id": "01", "sentence": "The work is voiced by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "The piece is voiced by Laetitia Saedier of Stereolab."}], "Defne": [{"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}], "Christian": [{"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}], "Devil": [{"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}], "find": [{"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "13", "sentence": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}, {"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}, {"id": "27", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}], "disappearance": [{"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}], "Like": [{"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "underneath": [{"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Metrostation Maashaven."}], "principle": [{"id": "06", "sentence": "Principium 2.0' is then another piece in step with the principle of Colson's original 'Principium'."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}], "respect": [{"id": "27", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "27", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them ."}], "noises": [{"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}], "langbeinite": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "asserts": [{"id": "26", "sentence": "The sonification of spider webs asserts a reverence for the environment, the beauty of the ephemeral and loss."}], "natural": [{"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}], "announcements": [{"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}], "Arts": [{"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}], "receiver": [{"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "Angola": [{"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}], "proposed": [{"id": "02", "sentence": "We proposed to the students that they devise an issue of our publication Tetra Gamma Circulaire."}], "fell": [{"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}], "provided": [{"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}], "bit": [{"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "27", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}], "thereafter": [{"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}], "captures": [{"id": "26", "sentence": "She presented her project entitled 'Arachnes Sonifier', in which she captures and makes audible spider webs."}], "denies": [{"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}], "microscopic": [{"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}], "octave": [{"id": "06", "sentence": "The final installation will have twelve separate pieces: A complete octave."}, {"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "There's something appealing in using a single octave as a building block."}], "examples": [{"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}], "Shikari": [{"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}], "Chelsea": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "one": [{"id": "02", "sentence": "This is a magazine without any format, with the intention for a new one to be developed each time."}, {"id": "02", "sentence": "All these scores then had to come together in one magazine/object."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Together, all twelve records form the complete set, which one 'game' requires."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "In this way you would end up with all different records, each one an original."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "06", "sentence": "The improvisation might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "It really was a one-time event, with the vinyls functioning as a tool, yes."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (of one or more people)."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}, {"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}, {"id": "24", "sentence": "Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}, {"id": "26", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}, {"id": "27", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "This one is a pretty contemporary example and results in great imagery and sound."}, {"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}, {"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "ore": [{"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "27", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "27", "sentence": "It's not iron ore but lignite, 'braunkohle'."}, {"id": "27", "sentence": "One is the waste you make to get to the ore."}, {"id": "27", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "27", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "27", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "27", "sentence": "It's not iron ore but lignite, 'braunkohle'."}, {"id": "27", "sentence": "One is the waste you make to get to the ore."}, {"id": "27", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "27", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}], "spoken": [{"id": "19", "sentence": "For this he developed specific software that generates poetry in spoken-word form."}, {"id": "19", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}], "formed": [{"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "versions": [{"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}], "Event": [{"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "The 'Event Scores' of George Brecht are still actual pieces."}, {"id": "17", "sentence": "The 'Event Scores' of George Brecht are still actual pieces."}], "teaching": [{"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}], "von": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "Project": [{"id": "24", "sentence": "The Miami Project 'Anthem' by Filo & Peri feat."}, {"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}], "17": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}], "money": [{"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}], "Hang": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "formation": [{"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}], "worked": [{"id": "02", "sentence": "We worked around the ideas present in our 'Pushing Scores' project."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Sometimes I preferred elements because of harmonic information, notes that work well together, sometimes because of rhythms that worked well, etc."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "07", "sentence": "All had worked with the medium of the vinyl record and added a new use/application."}, {"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "27", "sentence": "I also worked with stone as an instrument, striking and recording it."}], "spun": [{"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}], "Ne-Yo": [{"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "musicians": [{"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "21", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "Instead of using traditional musical scores during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "conducted": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "06", "sentence": "The interview was conducted after he exhibited 'Principium 2.0' in an installation setting at Stadslimiet, Antwerp."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}], "activated": [{"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}], "laptop": [{"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "21", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}], "Connor": [{"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "interesting": [{"id": "05", "sentence": "We have known Vaast Colson to be an interesting artist for quite some time already."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "If something was interesting for a while, but didn't stay interesting, it had to go."}, {"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "24", "sentence": "This makes it particularly interesting when viewed from the perspective of experimentation and unorthodox composing."}, {"id": "25", "sentence": "This 'other way' to come to sound is an interesting phenomenon."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "27", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "27", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}], "micro": [{"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "27", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics."}], "mannerisms": [{"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}], "closed": [{"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "27", "sentence": "It created a vacuum after it closed."}], "tetrahedrite": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Adagio": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "re-vegetation": [{"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}], "properly": [{"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}], "start": [{"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "09", "sentence": "However, it was decided to start from the floppy disc as a medium."}, {"id": "09", "sentence": "However, it was decided to start from the floppy disc as a medium."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}, {"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}, {"id": "27", "sentence": "It's absurd when you start to think about it."}, {"id": "27", "sentence": "It's absurd when you start to think about it."}], "difficult": [{"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}], "tremolo": [{"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}], "seamlessly": [{"id": "25", "sentence": "Ana Guedes' project 'UNTITLED RECORDS' fits into our idea of finding new ways to compose very seamlessly."}], "in": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on, this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media to this day."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "02", "sentence": "We worked around the ideas present in our 'Pushing Scores' project."}, {"id": "02", "sentence": "All these scores then had to come together in one magazine/object."}, {"id": "02", "sentence": "This was put in place to both limit possibilities and to unite the format."}, {"id": "02", "sentence": "The result is a combination of several media, which all coexist in a designed concrete object."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "They are intensified visual and audio perceptions in a specific space."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "04", "sentence": "They are cheap dummy books, onto which he poured ink in several colors."}, {"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "05", "sentence": "The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself."}, {"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "05", "sentence": "It is a complex work that nevertheless manages to remain simple and accessible in its final execution."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "What emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "He opens up the artistic field to explore what is happening in the art world."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "This resulted in 'Principium 2.0'."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Pretty nonsensical in a way, but it produced a really beautiful, and quite fragile, result."}, {"id": "06", "sentence": "Colson made two booklets in the 'Principium' series – comprised of reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "Principium 2.0' is then another piece in step with the principle of Colson's original 'Principium'."}, {"id": "06", "sentence": "The interview was conducted after he exhibited 'Principium 2.0' in an installation setting at Stadslimiet, Antwerp."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": ", that I went in that direction."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "It's meant to be in a continued state of flux."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "And since I'm a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "There's something appealing in using a single octave as a building block."}, {"id": "06", "sentence": "There’s something appealing in the number twelve even, and there's the appeal of building instruments too."}, {"id": "06", "sentence": "Kris Delacourt: Not really, at least not in this case."}, {"id": "06", "sentence": "Kris Delacourt: You do it in short sessions, hah."}, {"id": "06", "sentence": "That's quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}, {"id": "06", "sentence": "I could have gone for something more 'correct' in terms of concept – I don't know, pure sine waves or something."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "Kris Delacourt: The 10\" records have all been sold as well, so they sit somewhere in the middle."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "They're just new pieces in their own right."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "So I don't think I belong in the conceptual art section."}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The usual code of the record, as defined by the music industry, was broken in all works."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}, {"id": "09", "sentence": "As another example, Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART x JUBILEE event in 2017."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}, {"id": "10", "sentence": "VALENTINA VUKSIC (CH/NL) Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "By writing choreographies for software and computer elements, she utilises these technologies as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "The invitation was perfectly suited for a project in public space that he had in mind for 'Pushing Scores'."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century, Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "It was particularly of interested to us because of the way in which he focuses on the reproduction of music."}, {"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Because of this ambiguity, we are interested in what this stage of music could represent."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "The entire 'Pushing Scores' project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer based in Amsterdam."}, {"id": "13", "sentence": "Remco van Bladel grew up in the record store of his father."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "15", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "15", "sentence": "Holzer often works through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "18", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "19", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}, {"id": "19", "sentence": "For this he developed specific software that generates poetry in spoken-word form."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "20", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "20", "sentence": "Signification also plays a major role in this."}, {"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "20", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "20", "sentence": "Inspiration comes in the form of vocal poetry, 'poésie sonore' and text-sound composition."}, {"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "21", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "It results in very delicate and unconventional chamber music."}, {"id": "22", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "22", "sentence": "and took part in founding its festival Sláturtíð."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "23", "sentence": "Before the song there was the yodel,' As Bart Plantenga stated in his reading on yodeling."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}, {"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}, {"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}, {"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "24", "sentence": "His way of composing has a multimedia conceptual approach, which is mostly linked with processes in society."}, {"id": "24", "sentence": "This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "Ana Guedes is a multidisciplinary artist from Portugal who lives and works in the Hague."}, {"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}, {"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "26", "sentence": "She presented her project entitled 'Arachnes Sonifier', in which she captures and makes audible spider webs."}, {"id": "26", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}, {"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}, {"id": "26", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}, {"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "27", "sentence": "Both in active mines and in the abandoned mines and buildings surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}, {"id": "27", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "27", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}, {"id": "27", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}, {"id": "27", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "27", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "27", "sentence": "She still stores coal there in a small outhouse (called 'kullbingen')."}, {"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "27", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "27", "sentence": "It is a vast scar in the landscape, and really an incredible place."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "I'm very interested in the hidden layers and history the landscape."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "So much time is compressed in this material and it's burned up in minutes."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}, {"id": "27", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "27", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them ."}, {"id": "27", "sentence": "What shifts happened in the past?"}, {"id": "27", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "27", "sentence": "Far down in the Earth the rock is actually moving."}, {"id": "27", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "27", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "27", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "28", "sentence": "John Duncan took part in our event on 5 Oct 2018."}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}, {"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "28", "sentence": "Duncan also often works with Carl Michael Hausswolff, who is an expert in EVP."}, {"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "28", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}, {"id": "29", "sentence": "It is based in Rotterdam in the same area that we operate in."}, {"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "29", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "This not only counts for publishing but also for exploring new possibilities for artist practice in general."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "This one is a pretty contemporary example and results in great imagery and sound."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}, {"id": "30", "sentence": "The end titles of many black MIDI videos display how many notes are in the piece."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}, {"id": "31", "sentence": "We got in touch with Marco Fusinato through our '8-INCH' series."}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}, {"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}, {"id": "31", "sentence": "A huge public announcement system was in the office blazing loud, but very articulated sound."}, {"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "31", "sentence": "Fusinato's 'Mass Black Implosion' series began in 2007."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "commonly": [{"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}], "Germanium": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "magnetite": [{"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}], "2D": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}], "certainly": [{"id": "06", "sentence": "Kris Delacourt: I certainly do hope that it's enjoyable."}], "guide": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "05", "sentence": "What emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "fought": [{"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}], "length": [{"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}], "manage": [{"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "27", "sentence": "It is important for companies to manage this."}], "Zealand": [{"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}], "spatial": [{"id": "10", "sentence": "Software being processed creates its own temporal and spatial dimensions, which are staged for a public."}, {"id": "29", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}], "wide-ranging": [{"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "pleased": [{"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "vulnerable": [{"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}], "disk": [{"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}], "8": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "31", "sentence": "We got in touch with Marco Fusinato through our '8-INCH' series."}, {"id": "31", "sentence": "For this we published 8\" records with artists and labels."}], "quotes": [{"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}], "Low": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "navigating": [{"id": "06", "sentence": "Coming up with a concept can be as much a creative process as navigating its actualisation."}], "found": [{"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}], "Magnetic": [{"id": "27", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "27", "sentence": "Magnetic tape was the medium of my youth."}], "ut": [{"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}], "quickly": [{"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "27", "sentence": "The Arctic is changing quickly."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}], "sold": [{"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "Kris Delacourt: The 10\" records have all been sold as well, so they sit somewhere in the middle."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}], "foremost": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}], "state": [{"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "So what is the current state of the graphic score?"}, {"id": "06", "sentence": "It's meant to be in a continued state of flux."}], "status": [{"id": "26", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}], "Cologne": [{"id": "07", "sentence": "— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne."}], "aimed": [{"id": "09", "sentence": "Most projects are aimed at interaction with an audience (of one or more people)."}], "horribly": [{"id": "27", "sentence": "Sometimes this can go horribly wrong."}], "overlap": [{"id": "27", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}], "floppy": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}, {"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "02", "sentence": "One restriction was decided upon: The scores had to be presented on floppy disc."}, {"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}, {"id": "09", "sentence": "However, it was decided to start from the floppy disc as a medium."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}], "worlds": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}, {"id": "06", "sentence": "I guess I am aiming for the best of both worlds there."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}], "2009": [{"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}], "surround": [{"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}], "changes": [{"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}, {"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}], "Studio": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "30", "sentence": "They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "interested": [{"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "12", "sentence": "It was particularly of interested to us because of the way in which he focuses on the reproduction of music."}, {"id": "12", "sentence": "Because of this ambiguity, we are interested in what this stage of music could represent."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "27", "sentence": "I'm very interested in the hidden layers and history the landscape."}], "lens": [{"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}], "Timo": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "magazine.DE": [], "Bites": [{"id": "24", "sentence": "Timbaland 'Another One Bites The Dust' by Queen vs."}], "pose": [{"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}], "outputs": [{"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}], "C": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "So the C note runs for tens minutes and the B note is something like five minutes and twenty seconds."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "Patrick Stump 'Curvy Cola Bottle Body' by Chico 'D.A.N.C.E."}], "philosophy": [{"id": "24", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}], "National": [{"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}, {"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "Sunblock": [{"id": "24", "sentence": "Justin Timberlake & Timbaland 'Baby Baby' by Sunblock feat."}], "1980": [{"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "immediate": [{"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "27", "sentence": "It's not like wind or the sun, which give you immediate energy."}], "can": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "Just so you can see them day and night, for roughly three weeks long."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "05", "sentence": "This can be a performance, an object, a book or whatever other form he settles on."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "As mentioned, this is the short version, can you give me the full story?"}, {"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "06", "sentence": "How do you perceive the function a piece of vinyl can have?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process as navigating its actualisation."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "22", "sentence": "In that way, the most irregular things can become very intelligible."}, {"id": "23", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}, {"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}, {"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "27", "sentence": "Sometimes this can go horribly wrong."}, {"id": "27", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "27", "sentence": "We can see layers of hematite."}, {"id": "27", "sentence": "You can only survive there if you work with nature."}, {"id": "27", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "27", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}, {"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "31", "sentence": "From this perspective, his live performances can also be considered as black mass implosions."}], "Winehouse": [{"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}], "shorter": [{"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}], "creating": [{"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "trajectories": [{"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "counterpart": [{"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpart to his own musical input."}], "come": [{"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "All these scores then had to come together in one magazine/object."}, {"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "25", "sentence": "This 'other way' to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "Shirasagi": [{"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}], "Sandin": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}], "Aguilera": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "2008": [{"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}], "Drama": [{"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}], "plagiarise": [{"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}], "though": [{"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "DOB094": [{"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}], "stores": [{"id": "27", "sentence": "She still stores coal there in a small outhouse (called 'kullbingen')."}], "dimension": [{"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "solo": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "Kris Delacourt: I do look at it as a solo thing."}, {"id": "07", "sentence": "Julia's solo live performances primarily refer to the modified vinyl records that produce extraordinary sounds."}], "strata": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "Star": [{"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "For": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp-based artists to contribute to the project."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp-based artists to contribute to the project."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "04", "sentence": "For this event he will work with a film projection and a synthesizer, which he influences with his brainwaves."}, {"id": "04", "sentence": "For this event he will work with a film projection and a synthesizer, which he influences with his brainwaves."}, {"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "07", "sentence": "For this evening event, 'Resonanz' will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "For this evening event, 'Resonanz' will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpart to his own musical input."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpart to his own musical input."}, {"id": "11", "sentence": "For this multi-vocal composition, Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "For this multi-vocal composition, Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "19", "sentence": "For example, his work 'frakativ' is an electronic visual sound poetry performance."}, {"id": "19", "sentence": "For example, his work 'frakativ' is an electronic visual sound poetry performance."}, {"id": "19", "sentence": "For 'Pushing Scores', we invited him to make special work for a limited edition."}, {"id": "19", "sentence": "For this he developed specific software that generates poetry in spoken-word form."}, {"id": "19", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "19", "sentence": "For 'Pushing Scores', we invited him to make special work for a limited edition."}, {"id": "19", "sentence": "For this he developed specific software that generates poetry in spoken-word form."}, {"id": "19", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}, {"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}, {"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "For this event, Kahn did some kind of improvisation session on the works of the three invited artists."}, {"id": "27", "sentence": "For this event, Kahn did some kind of improvisation session on the works of the three invited artists."}, {"id": "27", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "27", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}, {"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}, {"id": "31", "sentence": "For this we published 8\" records with artists and labels."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}, {"id": "31", "sentence": "For this we published 8\" records with artists and labels."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}], "spectators": [{"id": "04", "sentence": "It’s not a matter of an event between spectators and a musician– it’s a space to submit to a process."}], "Seminar": [{"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}], "serves": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}], "room": [{"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}, {"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}], "opinion": [{"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}], "copyright": [{"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}], "evolving": [{"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}, {"id": "06", "sentence": "Kris Delacourt: Oh, I think it's definitely something that's still evolving."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}], "Bad": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}], "sphalerite": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Razorlight": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Writer": [{"id": "30", "sentence": "They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "instantly": [{"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}], "18:00": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "periodic": [{"id": "28", "sentence": "He also made periodic broadcasts from his own home."}], "Lily": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "no": [{"id": "06", "sentence": "So I don’t think I've quite finished with it, no."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}, {"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}, {"id": "27", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}], "extremely": [{"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "notion": [{"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "Best": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Voice": [{"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "tactility": [{"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}], "edited": [{"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "catalysts": [{"id": "25", "sentence": "Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation."}], "Breaking": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}], "hones": [{"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}], "ORE": [{"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}, {"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}, {"id": "27", "sentence": "Benny Nilsen approached us with his project 'ORE'."}, {"id": "27", "sentence": "Benny Nilsen approached us with his project 'ORE'."}], "3": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "TGC#3 is a particular kind of publishing platform engineered for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpart to his own musical input."}, {"id": "12", "sentence": "Representing, 3."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Public": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Bang": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "recognise": [{"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}], "choir": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "11", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "18", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}], "base": [{"id": "27", "sentence": "It is a base of hard rock under the water with different layers of material."}], "speaking": [{"id": "06", "sentence": "The improvisation might be one of the major flaws, actually, conceptually speaking."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}], "regularly": [{"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}], "contributing": [{"id": "07", "sentence": "Julia Bünnagel was also invited, under the guise of contributing a more physical input."}], "lecturer": [{"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}], "minus": [{"id": "26", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}], "house": [{"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "27", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "threads": [{"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}], "mirror": [{"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}], "reinterpret": [{"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}], "representation": [{"id": "01", "sentence": "Throughout 2016, 2017 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media to this day."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}], "ambition": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}], "beamer": [{"id": "09", "sentence": "Transmitted through a beamer and an audio system, everything becomes visible and audible."}], "assisting": [{"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}], "strength": [{"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}], "VUKSIC": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "VALENTINA VUKSIC (CH/NL) Valentina Vuksic is a computer artist and programmer based in Zürich."}], "Investigation": [{"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "therefore": [{"id": "06", "sentence": "They were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "20", "sentence": "Cultural identity is therefore communicated through this."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "24", "sentence": "The system was therefore completely stuck."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "us": [{"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "05", "sentence": "Colson's works examine core questions: What power does art have to change us and our society?"}, {"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "12", "sentence": "It was particularly of interested to us because of the way in which he focuses on the reproduction of music."}, {"id": "13", "sentence": "Yet these alternate approaches brought us together and made 'Pushing Scores' real."}, {"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}, {"id": "20", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "27", "sentence": "Benny Nilsen approached us with his project 'ORE'."}], "Publishing": [{"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "20", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}], "Stupidisco": [{"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}], "ensuring": [{"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}], "Piano": [{"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "Emeritus": [{"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "recontextualize": [{"id": "29", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}], "income": [{"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}], "whose": [{"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "knew": [{"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}], "Tilburg": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Sevenfold": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "deliver": [{"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}], "gold": [{"id": "27", "sentence": "If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "All to get to the desired result: The gold!"}], "blurring": [{"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}], "uses": [{"id": "04", "sentence": "RAFAËL ROZENDAAL (NL) Rafaël Rozendaal is a visual artist who uses the Internet as his canvas."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "20", "sentence": "Improper uses of consumer electronics (e.g."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "24", "sentence": "He usually uses multimedia elements."}, {"id": "24", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "Because she uses and records the archive, the end result almost turns out to be a DJ set."}, {"id": "27", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "rainbow": [{"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "understanding": [{"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}], "America": [{"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Gohan": [{"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}], "Lonely": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}], "laboratory": [{"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology and national security."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}], "built": [{"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "27", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "concrète": [{"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "The musique concrète, as developed by Henry at GRM, was made by magnetic tape."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}], "basements": [{"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "Maiden": [{"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}], "productive": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}], "hands": [{"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "15", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "15", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "Cry": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "manual": [{"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}], "Technical": [{"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "24": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}], "onto": [{"id": "04", "sentence": "They are cheap dummy books, onto which he poured ink in several colors."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}], "Official": [{"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}], "etc": [{"id": "06", "sentence": "Sometimes I preferred elements because of harmonic information, notes that work well together, sometimes because of rhythms that worked well, etc."}], "theoretical": [{"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "forsooth": [{"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "communities": [{"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}], "Island": [{"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}], "see": [{"id": "01", "sentence": "Just so you can see them day and night, for roughly three weeks long."}, {"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "DE PLAYER: Do you see this as a drone record?"}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "27", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "27", "sentence": "We can see layers of hematite."}, {"id": "27", "sentence": "What shifts will we see?"}], "Ai": [], "retro-for-retro's-sake": [{"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}], "drying": [{"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}], "continues": [{"id": "01", "sentence": "This continues to question the representation of sound in media to this day."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}], "packaging": [{"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job designing the packaging."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}], "concentrated": [{"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}], "musique": [{"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "The musique concrète, as developed by Henry at GRM, was made by magnetic tape."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "The musique concrète, as developed by Henry at GRM, was made by magnetic tape."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}], "doubting": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}], "needed": [{"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "23", "sentence": "Before God needed to be invented there were man."}], "percentage": [{"id": "27", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}], "ten": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}], "Donaghy": [{"id": "24", "sentence": "Team 'Don't' by Elvis Presley With The Jordanaires 'Don't Dance' by Midas 'Don't Give It Up' by Siobhan Donaghy"}], "actions": [{"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "26", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "STADSLIMIET": [{"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}], "viewer": [{"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}], "while": [{"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}, {"id": "06", "sentence": "If something was interesting for a while, but didn't stay interesting, it had to go."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "merely": [{"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "06", "sentence": "Yet I felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}], "became": [{"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}], "Synthesizer": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}], "culminating": [{"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}], "dig": [{"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "arrive": [{"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}], "77": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "However": [{"id": "09", "sentence": "However, it was decided to start from the floppy disc as a medium."}, {"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}], "Science": [{"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "awesome": [{"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}], "electromagnetic": [{"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}], "Mills": [{"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}], "CRUSH": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "sorts": [{"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}], "few": [{"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "24", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "27", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}], "vinyls": [{"id": "06", "sentence": "It really was a one-time event, with the vinyls functioning as a tool, yes."}, {"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}], "only": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, which determines the rhythm."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "27", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "27", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "27", "sentence": "You can only survive there if you work with nature."}, {"id": "30", "sentence": "This not only counts for publishing but also for exploring new possibilities for artist practice in general."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}], "graphic/sculptural": [{"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}], "shapes": [{"id": "06", "sentence": "He then reassembled these line segments into new shapes and new lines."}, {"id": "06", "sentence": "Line segments which he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}], "discuss": [{"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}], "amblygonite": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "concept": [{"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "I could have gone for something more 'correct' in terms of concept – I don't know, pure sine waves or something."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process as navigating its actualisation."}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or perhaps you would perceive it as a failure if it weren't enjoyable without the concept?"}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "14", "sentence": "It completely complimented our thinking around how to imagine the concept of composing and making scores."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "24", "sentence": "Johannes Kreidler is a composer and concept and media artist."}, {"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "PIECES": [{"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}], "gaffs": [{"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}], "pages": [{"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}], "All": [{"id": "02", "sentence": "All these scores then had to come together in one magazine/object."}, {"id": "02", "sentence": "All these scores then had to come together in one magazine/object."}, {"id": "07", "sentence": "All had worked with the medium of the vinyl record and added a new use/application."}, {"id": "07", "sentence": "All had worked with the medium of the vinyl record and added a new use/application."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "27", "sentence": "All to get to the desired result: The gold!"}, {"id": "27", "sentence": "All to get to the desired result: The gold!"}], "Niek": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "29", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}], "observing": [{"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}], "themselves": [{"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}], "believe": [{"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}], "full": [{"id": "06", "sentence": "As mentioned, this is the short version, can you give me the full story?"}, {"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "27", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}], "took": [{"id": "06", "sentence": "He was intrigued by the invitation, but it took a long time to develop."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}, {"id": "22", "sentence": "and took part in founding its festival Sláturtíð."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "John Duncan took part in our event on 5 Oct 2018."}], "population": [{"id": "27", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope."}], "century": [{"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "02", "sentence": "‘Fred Flintstone meets the twenty-first century’, it was referred to as."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "In the eleventh century, Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "arbitrary": [{"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}], "each": [{"id": "02", "sentence": "This is a magazine without any format, with the intention for a new one to be developed each time."}, {"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "Colson made two booklets in the 'Principium' series – comprised of reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "In this way you would end up with all different records, each one an original."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Peter brought six record players, matching the six colours of the vinyl nicely – two notes each."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}, {"id": "11", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "18", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "19", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "reproduction": [{"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "12", "sentence": "It was particularly of interested to us because of the way in which he focuses on the reproduction of music."}, {"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "30", "sentence": "In that sense, there is never a perfect reproduction but always an interpretation."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "generally": [{"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "27", "sentence": "It just turned out that way, perhaps because that's how we generally tend to structure material."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}], "non-musical": [{"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}], "has": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "02", "sentence": "It has a Raspberry Pi sits at its core, and is programmed for several applications."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "It's an iron board and it has the same visuals as the sticker sheets."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it's own."}, {"id": "06", "sentence": "I don't feel this record has that."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it's use as a technology within her work."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages throughout its history: 1."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}, {"id": "20", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "21", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson has been part of DE PLAYER's programme with his quartet Fersteinn several times."}, {"id": "22", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "23", "sentence": "I think silence has that same relation with music."}, {"id": "23", "sentence": "Emptiness has that same relation with notation."}, {"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "24", "sentence": "His way of composing has a multimedia conceptual approach, which is mostly linked with processes in society."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "26", "sentence": "Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "27", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}, {"id": "28", "sentence": "Since the beginning of his practice, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "29", "sentence": "Varia has developed a context and technical environment as a web-based archival publication."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "practice": [{"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "06", "sentence": "This is an interview with Kris Delacourt (Remörk) on his practice and the 'Principium' story."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "It was an investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}, {"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "In practice it's quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "Since the beginning of his practice, he has made extensive use of recorded sound."}, {"id": "30", "sentence": "This not only counts for publishing but also for exploring new possibilities for artist practice in general."}], "emulating": [{"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}], "O": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "refers": [{"id": "06", "sentence": "DE PLAYER: The Ultra Eczema site refers to this record as your debut LP."}, {"id": "12", "sentence": "It refers to the era of printed music (1500–1900)."}], "program": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "beneath": [{"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "perceives": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}], "neumens": [{"id": "11", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "18", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "18", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}], "relate": [{"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "27", "sentence": "It doesn't relate directly to mining, but it extends the project to include geology, deep time and stone."}], "annunciatory": [{"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}], "DOB073": [{"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}], "Acceptable": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Modernity": [{"id": "27", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}], "music": [{"id": "01", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "Throughout 2016, 2017 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "Later on, this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "04", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "Within it, he develops the reciprocity of music and architecture, and of sound and image."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "07", "sentence": "The usual code of the record, as defined by the music industry, was broken in all works."}, {"id": "08", "sentence": "We decided to envision the framework for the installation as a three-dimensional staff to write down music."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "As another example, Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}, {"id": "11", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "It was particularly of interested to us because of the way in which he focuses on the reproduction of music."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages throughout its history: 1."}, {"id": "12", "sentence": "It refers to the era of printed music (1500–1900)."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Because of this ambiguity, we are interested in what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "In the early 1960s, the composer Morton Subotnik employed engineer Don Buchla to help him create 'the music of the future'."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "18", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "20", "sentence": "In a multicultural situation, abstract sounds are forms of recognition; then there is, for example, music."}, {"id": "20", "sentence": "Subcultures form through music."}, {"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}, {"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "It results in very delicate and unconventional chamber music."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "22", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "23", "sentence": "I think silence has that same relation with music."}, {"id": "24", "sentence": "His work is described as conceptual music."}, {"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}, {"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}, {"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "26", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}, {"id": "28", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "improvised": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}], "human": [{"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "26", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "It's good for the human psyche to be reminded of that."}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}], "Piringer": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}], "Berlin": [{"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "10", "sentence": "The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}], "last": [{"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}], "Shena": [{"id": "24", "sentence": "Shena 'Dark Road' by Annie Lennox 'Delivery' by Babyshambles 'Desecration Smile' by Red Hot Chili Peppers 'Destination Calabria' by Alex Gaudino feat."}], "consisting": [{"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}], "future": [{"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "16", "sentence": "In the early 1960s, the composer Morton Subotnik employed engineer Don Buchla to help him create 'the music of the future'."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}], "Feldman": [{"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}], "Clothes": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "various": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "20", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "24", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}], "deconstruct": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}], "largest": [{"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}], "DEPLAYER/DOB": [{"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}], "states": [{"id": "07", "sentence": "On the live oscilloscope concert Holzer states, 'The Vectorian Era opens with a screaming across the sky."}], "narrow": [{"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "19", "sentence": "Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}], "everyday": [{"id": "04", "sentence": "At every level of detail, the everyday sound of our urban surroundings is the focus of his work."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}], "21:00": [{"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}], "sculpture": [{"id": "07", "sentence": "— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne."}, {"id": "24", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "challenge": [{"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}], "autonomous": [{"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}], "light": [{"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "11", "sentence": "An interactive graphic score/light box/kinetic work fixed inside the cabinet, and 2."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}], "transcriptions": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "South": [{"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "New": [{"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}, {"id": "20", "sentence": "New generations are born."}, {"id": "20", "sentence": "New generations are born."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "heating": [{"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "Kakakakaito1998": [{"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}], "belong": [{"id": "06", "sentence": "So I don't think I belong in the conceptual art section."}], "arrives": [{"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "Matt": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "asunder": [{"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "cases": [{"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}], "engaged": [{"id": "13", "sentence": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}], "VALENTINA": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "VALENTINA VUKSIC (CH/NL) Valentina Vuksic is a computer artist and programmer based in Zürich."}], "himself": [{"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "singularly": [{"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "may": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}], "topic": [{"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}], "twenty-first": [{"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "02", "sentence": "‘Fred Flintstone meets the twenty-first century’, it was referred to as."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "six": [{"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}, {"id": "06", "sentence": "Peter brought six record players, matching the six colours of the vinyl nicely – two notes each."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}], "Tyfus": [{"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "There's Vaast Colson, Peter Flenger and Dennis Tyfus too."}], "inputs": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}], "providing": [{"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}], "Silicon": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "came": [{"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "06", "sentence": "At least, that's where the initial form and the name came from."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}], "California": [{"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "Arrows": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "Spectral Arrows' is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "told": [{"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}], "interpretations": [{"id": "25", "sentence": "Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation."}], "number": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "There’s something appealing in the number twelve even, and there's the appeal of building instruments too."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}, {"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "present": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "02", "sentence": "We worked around the ideas present in our 'Pushing Scores' project."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "23", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "27", "sentence": "The sound of the mine was always present."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}], "consisted": [{"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}], "baton": [{"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}], "encouraged": [{"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}], "reproducibility": [{"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}], "roughly": [{"id": "01", "sentence": "Just so you can see them day and night, for roughly three weeks long."}], "propositions": [{"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "conceptually": [{"id": "06", "sentence": "The improvisation might be one of the major flaws, actually, conceptually speaking."}], "1977": [{"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer based in Amsterdam."}], "sensor": [{"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}], "place": [{"id": "02", "sentence": "This was put in place to both limit possibilities and to unite the format."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "26", "sentence": "Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "It is a vast scar in the landscape, and really an incredible place."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}], "Then": [{"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}], "Fratelli": [{"id": "24", "sentence": "Sandy 'Baby Fratelli' by The Fratellis 'Baby Love' by Nicole Scherzinger Feat."}], "begun": [{"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}], "definitive": [{"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}], "recording": [{"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}, {"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "27", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "27", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "27", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "27", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "27", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "Vleeshal": [{"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}], "p": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34."}], "facets": [{"id": "27", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}], "Groothandelsgebouw": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "Blunt": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "borderline": [{"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}], "organ": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}], "Analogue": [{"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "Has": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "boring": [{"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}], "Régine": [{"id": "07", "sentence": "— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne."}], "numerical": [{"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}], "highly": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}], "retain": [{"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}], "Radical": [{"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}], "other": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}, {"id": "05", "sentence": "This can be a performance, an object, a book or whatever other form he settles on."}, {"id": "05", "sentence": "This can be a performance, an object, a book or whatever other form he settles on."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}, {"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}, {"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}, {"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}, {"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "This 'other way' to come to sound is an interesting phenomenon."}, {"id": "25", "sentence": "This 'other way' to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "27", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "27", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "Fremdarbeit": [{"id": "24", "sentence": "According to Kreidler, the action, entitled 'Fremdarbeit', is intended to focus attention on the themes of exploitation and authorship."}], "Timbaland": [{"id": "24", "sentence": "Timbaland 'Another One Bites The Dust' by Queen vs."}, {"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}, {"id": "24", "sentence": "Justin Timberlake & Timbaland 'Baby Baby' by Sunblock feat."}], "pulsations": [{"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}], "voices": [{"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "locations": [{"id": "27", "sentence": "Both in active mines and in the abandoned mines and buildings surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}], "investigation": [{"id": "13", "sentence": "It was an investigation into methodologies within his own artistic practice."}, {"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}], "mechanical": [{"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}], "Thus": [{"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}], "Dennis": [{"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "DE PLAYER: Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "There's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}], "Oscilloscope": [{"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}], "re": [{"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "They're just new pieces in their own right."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "They're just new pieces in their own right."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}, {"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}], "Buennagel": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}], "Hilkmann": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "29", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}], "singing": [{"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}], "file": [{"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}], "ingredients": [{"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}], "Except": [{"id": "27", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}], "on": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}, {"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Metrostation Maashaven."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "01", "sentence": "Later on, this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "02", "sentence": "One restriction was decided upon: The scores had to be presented on floppy disc."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}, {"id": "04", "sentence": "His studio work focuses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}, {"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "05", "sentence": "The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself."}, {"id": "05", "sentence": "This can be a performance, an object, a book or whatever other form he settles on."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "It was presented at Stadslimiet, Antwerp, as an installation piece on 2 Jul 2015."}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "This is an interview with Kris Delacourt (Remörk) on his practice and the 'Principium' story."}, {"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "DE PLAYER: Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "As another example, Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "Her score was made on the spot with programming language; a sort of live coding."}, {"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "The work was installed for a period at The Small Museum – a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "12", "sentence": "It was particularly of interested to us because of the way in which he focuses on the reproduction of music."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "His studio focuses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "16", "sentence": "Derek Holzer was invited for the event 'PUSHING' on 20 Jan 2017."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "This Icelandic quartet plays with little analogue instruments and animation scores Gunnarsson made on his computer."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}, {"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "22", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "Before the song there was the yodel,' As Bart Plantenga stated in his reading on yodeling."}, {"id": "24", "sentence": "According to Kreidler, the action, entitled 'Fremdarbeit', is intended to focus attention on the themes of exploitation and authorship."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "26", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "How much influence does it have on a community?"}, {"id": "27", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope."}, {"id": "27", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "27", "sentence": "For this event, Kahn did some kind of improvisation session on the works of the three invited artists."}, {"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it ."}, {"id": "27", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "27", "sentence": "There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "27", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "John Duncan took part in our event on 5 Oct 2018."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}, {"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}, {"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "Ideal": [{"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}], "basic": [{"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}], "Hackaday": [{"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "unfolding": [{"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}], "entities": [{"id": "24", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}], "vacuum": [{"id": "27", "sentence": "It created a vacuum after it closed."}], "entire": [{"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "13", "sentence": "The entire 'Pushing Scores' project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "searching": [{"id": "13", "sentence": "He sees it as punk, experimental, noise, investigative and critical, searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}], "Annette": [{"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}], "at": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "It has a Raspberry Pi sits at its core, and is programmed for several applications."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "It was presented at Stadslimiet, Antwerp, as an installation piece on 2 Jul 2015."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "The interview was conducted after he exhibited 'Principium 2.0' in an installation setting at Stadslimiet, Antwerp."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "DE PLAYER: Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Kris Delacourt: Not really, at least not in this case."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it's own."}, {"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "Kris Delacourt: I do look at it as a solo thing."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}, {"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (of one or more people)."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "The work was installed for a period at The Small Museum – a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the 'Aalto Natives' at the Finnish Pavilion of the 57th Venice Biennale."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}, {"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}, {"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}, {"id": "24", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "27", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "27", "sentence": "The musique concrète, as developed by Henry at GRM, was made by magnetic tape."}, {"id": "27", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "27", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}, {"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "28", "sentence": "He is currently a sound designer at the Art Academy of Bologna, Italy."}, {"id": "28", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}, {"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}], "the": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp-based artists to contribute to the project."}, {"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Metrostation Maashaven."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The 'E-ARTHHA' event is about the search for new interfaces and possibilities for sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp-based artists to contribute to the project."}, {"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Metrostation Maashaven."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The 'E-ARTHHA' event is about the search for new interfaces and possibilities for sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Throughout 2016, 2017 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on, this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media to this day."}, {"id": "01", "sentence": "So what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "01", "sentence": "Throughout 2016, 2017 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on, this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media to this day."}, {"id": "01", "sentence": "So what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "02", "sentence": "We proposed to the students that they devise an issue of our publication Tetra Gamma Circulaire."}, {"id": "02", "sentence": "This is a magazine without any format, with the intention for a new one to be developed each time."}, {"id": "02", "sentence": "We worked around the ideas present in our 'Pushing Scores' project."}, {"id": "02", "sentence": "Each student had to develop their own project around the process of making a score."}, {"id": "02", "sentence": "This was put in place to both limit possibilities and to unite the format."}, {"id": "02", "sentence": "‘Fred Flintstone meets the twenty-first century’, it was referred to as."}, {"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}, {"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "02", "sentence": "We proposed to the students that they devise an issue of our publication Tetra Gamma Circulaire."}, {"id": "02", "sentence": "This is a magazine without any format, with the intention for a new one to be developed each time."}, {"id": "02", "sentence": "We worked around the ideas present in our 'Pushing Scores' project."}, {"id": "02", "sentence": "Each student had to develop their own project around the process of making a score."}, {"id": "02", "sentence": "This was put in place to both limit possibilities and to unite the format."}, {"id": "02", "sentence": "‘Fred Flintstone meets the twenty-first century’, it was referred to as."}, {"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}, {"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}, {"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}, {"id": "04", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Every aspect of his work deals with the quality of sound."}, {"id": "04", "sentence": "RAFAËL ROZENDAAL (NL) Rafaël Rozendaal is a visual artist who uses the Internet as his canvas."}, {"id": "04", "sentence": "At every level of detail, the everyday sound of our urban surroundings is the focus of his work."}, {"id": "04", "sentence": "Within it, he develops the reciprocity of music and architecture, and of sound and image."}, {"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Every aspect of his work deals with the quality of sound."}, {"id": "04", "sentence": "RAFAËL ROZENDAAL (NL) Rafaël Rozendaal is a visual artist who uses the Internet as his canvas."}, {"id": "04", "sentence": "At every level of detail, the everyday sound of our urban surroundings is the focus of his work."}, {"id": "04", "sentence": "Within it, he develops the reciprocity of music and architecture, and of sound and image."}, {"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "04", "sentence": "These books were the starting point for curating the event, which subsequently sat within our 'Pushing Scores' project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}, {"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "04", "sentence": "These books were the starting point for curating the event, which subsequently sat within our 'Pushing Scores' project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}, {"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "05", "sentence": "The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded."}, {"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "05", "sentence": "The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself."}, {"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "05", "sentence": "The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded."}, {"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "05", "sentence": "The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself."}, {"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "He opens up the artistic field to explore what is happening in the art world."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "He opens up the artistic field to explore what is happening in the art world."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "06", "sentence": "Together, all twelve records form the complete set, which one 'game' requires."}, {"id": "06", "sentence": "Join the community."}, {"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "06", "sentence": "Together, all twelve records form the complete set, which one 'game' requires."}, {"id": "06", "sentence": "Join the community."}, {"id": "06", "sentence": "He was intrigued by the invitation, but it took a long time to develop."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "Principium' comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "Colson made two booklets in the 'Principium' series – comprised of reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "As mentioned, the first version was a modified Casio keyboard."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "Principium 2.0' is then another piece in step with the principle of Colson's original 'Principium'."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "He was intrigued by the invitation, but it took a long time to develop."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "Principium' comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "Colson made two booklets in the 'Principium' series – comprised of reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "As mentioned, the first version was a modified Casio keyboard."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "Principium 2.0' is then another piece in step with the principle of Colson's original 'Principium'."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "This is an interview with Kris Delacourt (Remörk) on his practice and the 'Principium' story."}, {"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "As mentioned, this is the short version, can you give me the full story?"}, {"id": "06", "sentence": "At least, that's where the initial form and the name came from."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It's an iron board and it has the same visuals as the sticker sheets."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for tens minutes and the B note is something like five minutes and twenty seconds."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "Peter brought six record players, matching the six colours of the vinyl nicely – two notes each."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, which determines the rhythm."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}, {"id": "06", "sentence": "There’s something appealing in the number twelve even, and there's the appeal of building instruments too."}, {"id": "06", "sentence": "What was the problem?"}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole eight-hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "Kris Delacourt: There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "06", "sentence": "The improvisation might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "How do you perceive the function a piece of vinyl can have?"}, {"id": "06", "sentence": "Kris Delacourt: The 10\" records have all been sold as well, so they sit somewhere in the middle."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "It really was a one-time event, with the vinyls functioning as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "So I don't think I belong in the conceptual art section."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}, {"id": "06", "sentence": "Quite the contrary, actually."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or perhaps you would perceive it as a failure if it weren't enjoyable without the concept?"}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "I guess I am aiming for the best of both worlds there."}, {"id": "06", "sentence": "This is an interview with Kris Delacourt (Remörk) on his practice and the 'Principium' story."}, {"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "As mentioned, this is the short version, can you give me the full story?"}, {"id": "06", "sentence": "At least, that's where the initial form and the name came from."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It's an iron board and it has the same visuals as the sticker sheets."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for tens minutes and the B note is something like five minutes and twenty seconds."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "Peter brought six record players, matching the six colours of the vinyl nicely – two notes each."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, which determines the rhythm."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}, {"id": "06", "sentence": "There’s something appealing in the number twelve even, and there's the appeal of building instruments too."}, {"id": "06", "sentence": "What was the problem?"}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole eight-hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "Kris Delacourt: There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "06", "sentence": "The improvisation might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "How do you perceive the function a piece of vinyl can have?"}, {"id": "06", "sentence": "Kris Delacourt: The 10\" records have all been sold as well, so they sit somewhere in the middle."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "It really was a one-time event, with the vinyls functioning as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "So I don't think I belong in the conceptual art section."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}, {"id": "06", "sentence": "Quite the contrary, actually."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or perhaps you would perceive it as a failure if it weren't enjoyable without the concept?"}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "I guess I am aiming for the best of both worlds there."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "On this evening, 'Resonanz' will be the starting point for a Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "For this evening event, 'Resonanz' will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}, {"id": "07", "sentence": "She is part of the sound art collective Sculptress of Sound."}, {"id": "07", "sentence": "Julia's solo live performances primarily refer to the modified vinyl records that produce extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "On the live oscilloscope concert Holzer states, 'The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "On this evening, 'Resonanz' will be the starting point for a Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "For this evening event, 'Resonanz' will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}, {"id": "07", "sentence": "She is part of the sound art collective Sculptress of Sound."}, {"id": "07", "sentence": "Julia's solo live performances primarily refer to the modified vinyl records that produce extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "On the live oscilloscope concert Holzer states, 'The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "07", "sentence": "To complete the event we searched for two completely different approaches to composition."}, {"id": "07", "sentence": "Julia Bünnagel was also invited, under the guise of contributing a more physical input."}, {"id": "07", "sentence": "In the case of the 'prepared record', the record or musical piece is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "07", "sentence": "All had worked with the medium of the vinyl record and added a new use/application."}, {"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The usual code of the record, as defined by the music industry, was broken in all works."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "07", "sentence": "To complete the event we searched for two completely different approaches to composition."}, {"id": "07", "sentence": "Julia Bünnagel was also invited, under the guise of contributing a more physical input."}, {"id": "07", "sentence": "In the case of the 'prepared record', the record or musical piece is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "07", "sentence": "All had worked with the medium of the vinyl record and added a new use/application."}, {"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The usual code of the record, as defined by the music industry, was broken in all works."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "08", "sentence": "The initiatives gather within a part of the programme called 'Intersections'."}, {"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "08", "sentence": "We decided to envision the framework for the installation as a three-dimensional staff to write down music."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "08", "sentence": "The initiatives gather within a part of the programme called 'Intersections'."}, {"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "08", "sentence": "We decided to envision the framework for the installation as a three-dimensional staff to write down music."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "However, it was decided to start from the floppy disc as a medium."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the working process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "As another example, Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "However, it was decided to start from the floppy disc as a medium."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the working process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "As another example, Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will host the evening, and explain their ideas and approach to developing the archive."}, {"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will host the evening, and explain their ideas and approach to developing the archive."}, {"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART x JUBILEE event in 2017."}, {"id": "10", "sentence": "Her score was made on the spot with programming language; a sort of live coding."}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART x JUBILEE event in 2017."}, {"id": "10", "sentence": "Her score was made on the spot with programming language; a sort of live coding."}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "Vuksic considers the time and space of computer processing and memory as levels of reality."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "Vuksic considers the time and space of computer processing and memory as levels of reality."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "An interactive graphic score/light box/kinetic work fixed inside the cabinet, and 2."}, {"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "11", "sentence": "An interactive graphic score/light box/kinetic work fixed inside the cabinet, and 2."}, {"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "11", "sentence": "The work was installed for a period at The Small Museum – a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "11", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century, Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "11", "sentence": "The work was installed for a period at The Small Museum – a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "11", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century, Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "12", "sentence": "It was particularly of interested to us because of the way in which he focuses on the reproduction of music."}, {"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}, {"id": "12", "sentence": "It refers to the era of printed music (1500–1900)."}, {"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "He calls this chapter 'Represent' because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "At the time of writing it would have been quite prophetic."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "12", "sentence": "It was particularly of interested to us because of the way in which he focuses on the reproduction of music."}, {"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}, {"id": "12", "sentence": "It refers to the era of printed music (1500–1900)."}, {"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "He calls this chapter 'Represent' because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "At the time of writing it would have been quite prophetic."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "13", "sentence": "This encompasses the conceptualisation, the funding and the execution."}, {"id": "13", "sentence": "This encompasses the conceptualisation, the funding and the execution."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the 'Aalto Natives' at the Finnish Pavilion of the 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}, {"id": "13", "sentence": "Remco van Bladel grew up in the record store of his father."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the 'Aalto Natives' at the Finnish Pavilion of the 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}, {"id": "13", "sentence": "Remco van Bladel grew up in the record store of his father."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "14", "sentence": "It completely complimented our thinking around how to imagine the concept of composing and making scores."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "14", "sentence": "It completely complimented our thinking around how to imagine the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}, {"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}, {"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "Derek Holzer was invited for the event 'PUSHING' on 20 Jan 2017."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}, {"id": "16", "sentence": "Derek Holzer was invited for the event 'PUSHING' on 20 Jan 2017."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}, {"id": "16", "sentence": "In the early 1960s, the composer Morton Subotnik employed engineer Don Buchla to help him create 'the music of the future'."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}, {"id": "16", "sentence": "In the early 1960s, the composer Morton Subotnik employed engineer Don Buchla to help him create 'the music of the future'."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "18", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called 'cheironmy'."}, {"id": "18", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "18", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called 'cheironmy'."}, {"id": "18", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "19", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "19", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}, {"id": "19", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}, {"id": "19", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}, {"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "20", "sentence": "The style and/or genre determine the identity."}, {"id": "20", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "20", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "20", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "20", "sentence": "Inspiration comes in the form of vocal poetry, 'poésie sonore' and text-sound composition."}, {"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}, {"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "20", "sentence": "The style and/or genre determine the identity."}, {"id": "20", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "20", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "20", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "20", "sentence": "Inspiration comes in the form of vocal poetry, 'poésie sonore' and text-sound composition."}, {"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "21", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "21", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "21", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "21", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "21", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "21", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "21", "sentence": "Fersteinn works with the method of so-called 'animation'."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "21", "sentence": "Fersteinn works with the method of so-called 'animation'."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "22", "sentence": "Anitation' is the term for animated notation."}, {"id": "22", "sentence": "Instead of using traditional musical scores during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "Anitation' is the term for animated notation."}, {"id": "22", "sentence": "Instead of using traditional musical scores during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "The idea of 'anitation' and the work of Guðmundur Steinn Gunnarsson fits perfectly within 'Pushing Scores'."}, {"id": "22", "sentence": "The idea of 'anitation' and the work of Guðmundur Steinn Gunnarsson fits perfectly within 'Pushing Scores'."}, {"id": "22", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "22", "sentence": "In that way, the most irregular things can become very intelligible."}, {"id": "22", "sentence": "He also used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "22", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "22", "sentence": "In that way, the most irregular things can become very intelligible."}, {"id": "22", "sentence": "He also used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "23", "sentence": "Before language there was the song."}, {"id": "23", "sentence": "Before the song there was the yodel,' As Bart Plantenga stated in his reading on yodeling."}, {"id": "23", "sentence": "Before language there was the song."}, {"id": "23", "sentence": "Before the song there was the yodel,' As Bart Plantenga stated in his reading on yodeling."}, {"id": "24", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}, {"id": "24", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}, {"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}, {"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}, {"id": "24", "sentence": "According to Kreidler, the action, entitled 'Fremdarbeit', is intended to focus attention on the themes of exploitation and authorship."}, {"id": "24", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}, {"id": "24", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}, {"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}, {"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}, {"id": "24", "sentence": "According to Kreidler, the action, entitled 'Fremdarbeit', is intended to focus attention on the themes of exploitation and authorship."}, {"id": "24", "sentence": "This makes it particularly interesting when viewed from the perspective of experimentation and unorthodox composing."}, {"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "24", "sentence": "This makes it particularly interesting when viewed from the perspective of experimentation and unorthodox composing."}, {"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "Ana Guedes is a multidisciplinary artist from Portugal who lives and works in the Hague."}, {"id": "25", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}, {"id": "25", "sentence": "Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation."}, {"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}, {"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "25", "sentence": "Ana Guedes is a multidisciplinary artist from Portugal who lives and works in the Hague."}, {"id": "25", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}, {"id": "25", "sentence": "Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation."}, {"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}, {"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "25", "sentence": "Her archival approach and its political and personal implications are the starting point of this work."}, {"id": "25", "sentence": "Because she uses and records the archive, the end result almost turns out to be a DJ set."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "25", "sentence": "Her archival approach and its political and personal implications are the starting point of this work."}, {"id": "25", "sentence": "Because she uses and records the archive, the end result almost turns out to be a DJ set."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "26", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}, {"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}, {"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "26", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "26", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "26", "sentence": "The sonification of spider webs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "26", "sentence": "When the webs are harvested, my hand affects their original form."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}, {"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "26", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "26", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "26", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}, {"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}, {"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "26", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "26", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "26", "sentence": "The sonification of spider webs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "26", "sentence": "When the webs are harvested, my hand affects their original form."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}, {"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "26", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "26", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "27", "sentence": "What is the relationship between the sounds of mining and the community that surrounds them?"}, {"id": "27", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "27", "sentence": "Both in active mines and in the abandoned mines and buildings surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "27", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope."}, {"id": "27", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "27", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "27", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "27", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "27", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "27", "sentence": "What is the relationship between the sounds of mining and the community that surrounds them?"}, {"id": "27", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "27", "sentence": "Both in active mines and in the abandoned mines and buildings surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "27", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope."}, {"id": "27", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "27", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "27", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "27", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "27", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}, {"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "27", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}, {"id": "27", "sentence": "For this event, Kahn did some kind of improvisation session on the works of the three invited artists."}, {"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}, {"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "27", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}, {"id": "27", "sentence": "For this event, Kahn did some kind of improvisation session on the works of the three invited artists."}, {"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "27", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "27", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}, {"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "27", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "27", "sentence": "It doesn't relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "27", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "27", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "27", "sentence": "I did the same with coal."}, {"id": "27", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "27", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "27", "sentence": "It is a vast scar in the landscape, and really an incredible place."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "I'm very interested in the hidden layers and history the landscape."}, {"id": "27", "sentence": "That's why I wanted to have a thread about the regeneration of mining areas."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}, {"id": "27", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "One is the waste you make to get to the ore."}, {"id": "27", "sentence": "If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste."}, {"id": "27", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "It's not like wind or the sun, which give you immediate energy."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "27", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "27", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "27", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "27", "sentence": "The sound of the mine was always present."}, {"id": "27", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "27", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "It's good for the human psyche to be reminded of that."}, {"id": "27", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them ."}, {"id": "27", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "27", "sentence": "What shifts happened in the past?"}, {"id": "27", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "27", "sentence": "Far down in the Earth the rock is actually moving."}, {"id": "27", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "27", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "27", "sentence": "Listening underground is like reading the environment."}, {"id": "27", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "27", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "27", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "27", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "27", "sentence": "In practice it's quite mathematical, but it still it is part of the sound world too."}, {"id": "27", "sentence": "There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "27", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "27", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "27", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "27", "sentence": "All to get to the desired result: The gold!"}, {"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "27", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "27", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}, {"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "27", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "27", "sentence": "It doesn't relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "27", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "27", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "27", "sentence": "I did the same with coal."}, {"id": "27", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "27", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "27", "sentence": "It is a vast scar in the landscape, and really an incredible place."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "I'm very interested in the hidden layers and history the landscape."}, {"id": "27", "sentence": "That's why I wanted to have a thread about the regeneration of mining areas."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}, {"id": "27", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "One is the waste you make to get to the ore."}, {"id": "27", "sentence": "If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste."}, {"id": "27", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "It's not like wind or the sun, which give you immediate energy."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "27", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "27", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "27", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "27", "sentence": "The sound of the mine was always present."}, {"id": "27", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "27", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "It's good for the human psyche to be reminded of that."}, {"id": "27", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them ."}, {"id": "27", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "27", "sentence": "What shifts happened in the past?"}, {"id": "27", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "27", "sentence": "Far down in the Earth the rock is actually moving."}, {"id": "27", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "27", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "27", "sentence": "Listening underground is like reading the environment."}, {"id": "27", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "27", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "27", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "27", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "27", "sentence": "In practice it's quite mathematical, but it still it is part of the sound world too."}, {"id": "27", "sentence": "There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "27", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "27", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "27", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "27", "sentence": "All to get to the desired result: The gold!"}, {"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}, {"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "28", "sentence": "He is currently a sound designer at the Art Academy of Bologna, Italy."}, {"id": "28", "sentence": "Since the beginning of his practice, he has made extensive use of recorded sound."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "28", "sentence": "He is currently a sound designer at the Art Academy of Bologna, Italy."}, {"id": "28", "sentence": "Since the beginning of his practice, he has made extensive use of recorded sound."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "29", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "29", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}, {"id": "29", "sentence": "It is based in Rotterdam in the same area that we operate in."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}, {"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}, {"id": "29", "sentence": "It is based in Rotterdam in the same area that we operate in."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}, {"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "29", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}, {"id": "29", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "29", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}, {"id": "29", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}, {"id": "30", "sentence": "The end titles of many black MIDI videos display how many notes are in the piece."}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}, {"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}, {"id": "30", "sentence": "The end titles of many black MIDI videos display how many notes are in the piece."}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}, {"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}, {"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}, {"id": "31", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}, {"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}, {"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}, {"id": "31", "sentence": "A huge public announcement system was in the office blazing loud, but very articulated sound."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}, {"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}, {"id": "31", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}, {"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}, {"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}, {"id": "31", "sentence": "A huge public announcement system was in the office blazing loud, but very articulated sound."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "Frith": [{"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "Samanda": [{"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}], "Caillat": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Carlson": [{"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}], "repetitions": [{"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}], "Japan": [{"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}], "influenced": [{"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}], "select": [{"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}], "scola": [{"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "11", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "18", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}], "abilities": [{"id": "26", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}], "clockwork": [{"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}], "playing": [{"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}], "illegally": [{"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "multiplexed": [{"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}], "fascinates": [{"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}], "subsequent": [{"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}], "represents": [{"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}], "poetic": [{"id": "06", "sentence": "It just rang as very poetic to me."}], "new-media": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "details": [{"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}], "frequencies": [{"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "Babyshambles": [{"id": "24", "sentence": "Shena 'Dark Road' by Annie Lennox 'Delivery' by Babyshambles 'Desecration Smile' by Red Hot Chili Peppers 'Destination Calabria' by Alex Gaudino feat."}], "playability/repeatability": [{"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}], "Participants": [{"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}], "channels": [{"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "claimed": [{"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "hardiest": [{"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}], "piece": [{"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "It was presented at Stadslimiet, Antwerp, as an installation piece on 2 Jul 2015."}, {"id": "06", "sentence": "Principium 2.0' is then another piece in step with the principle of Colson's original 'Principium'."}, {"id": "06", "sentence": "Yet I felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "End of piece."}, {"id": "06", "sentence": "How do you perceive the function a piece of vinyl can have?"}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "07", "sentence": "In the case of the 'prepared record', the record or musical piece is not used as a reproductive technique."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "The piece is voiced by Laetitia Saedier of Stereolab."}, {"id": "19", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "24", "sentence": "Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'."}, {"id": "24", "sentence": "This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "30", "sentence": "The end titles of many black MIDI videos display how many notes are in the piece."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}], "Nordlichter": [{"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "firmament": [{"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}], "part": [{"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "07", "sentence": "She is part of the sound art collective Sculptress of Sound."}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}, {"id": "08", "sentence": "The initiatives gather within a part of the programme called 'Intersections'."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson has been part of DE PLAYER's programme with his quartet Fersteinn several times."}, {"id": "22", "sentence": "and took part in founding its festival Sláturtíð."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "27", "sentence": "This was part of a test production of around 30,000 tons."}, {"id": "27", "sentence": "In practice it's quite mathematical, but it still it is part of the sound world too."}, {"id": "27", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "John Duncan took part in our event on 5 Oct 2018."}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}], "presentation": [{"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "07", "sentence": "On this evening, 'Resonanz' will be the starting point for a Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "For this evening event, 'Resonanz' will be the starting point of Q&A, demonstration and live presentation."}, {"id": "29", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "29", "sentence": "His presentation was a crossover between a lecture and a demonstration."}], "bars": [{"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "1958": [{"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}], "raster": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}], "mountain": [{"id": "27", "sentence": "The mountain just sits there."}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}], "Above": [{"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "was": [{"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "02", "sentence": "One restriction was decided upon: The scores had to be presented on floppy disc."}, {"id": "02", "sentence": "This was put in place to both limit possibilities and to unite the format."}, {"id": "02", "sentence": "‘Fred Flintstone meets the twenty-first century’, it was referred to as."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}, {"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "05", "sentence": "The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded."}, {"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "He was intrigued by the invitation, but it took a long time to develop."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "It was presented at Stadslimiet, Antwerp, as an installation piece on 2 Jul 2015."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "As mentioned, the first version was a modified Casio keyboard."}, {"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}, {"id": "06", "sentence": "The interview was conducted after he exhibited 'Principium 2.0' in an installation setting at Stadslimiet, Antwerp."}, {"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, which determines the rhythm."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "Why was that?"}, {"id": "06", "sentence": "What was the problem?"}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB Records."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "If something was interesting for a while, but didn't stay interesting, it had to go."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "06", "sentence": "It really was a one-time event, with the vinyls functioning as a tool, yes."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "07", "sentence": "Julia Bünnagel was also invited, under the guise of contributing a more physical input."}, {"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The usual code of the record, as defined by the music industry, was broken in all works."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "However, it was decided to start from the floppy disc as a medium."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART x JUBILEE event in 2017."}, {"id": "10", "sentence": "It was a good concert and her way of working fit into our ideas of exploring graphic scores very well."}, {"id": "10", "sentence": "Her score was made on the spot with programming language; a sort of live coding."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "11", "sentence": "The invitation was perfectly suited for a project in public space that he had in mind for 'Pushing Scores'."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "11", "sentence": "The work was installed for a period at The Small Museum – a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "A seventh note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "11", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "It was particularly of interested to us because of the way in which he focuses on the reproduction of music."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "13", "sentence": "The entire 'Pushing Scores' project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "It was an investigation into methodologies within his own artistic practice."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "Derek Holzer was invited for the event 'PUSHING' on 20 Jan 2017."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}, {"id": "18", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "23", "sentence": "Before language there was the song."}, {"id": "23", "sentence": "Before the song there was the yodel,' As Bart Plantenga stated in his reading on yodeling."}, {"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "The system was therefore completely stuck."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}, {"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "27", "sentence": "The musique concrète, as developed by Henry at GRM, was made by magnetic tape."}, {"id": "27", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}, {"id": "27", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "27", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "27", "sentence": "This was part of a test production of around 30,000 tons."}, {"id": "27", "sentence": "The sound of the mine was always present."}, {"id": "27", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "27", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "27", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}, {"id": "29", "sentence": "His presentation was a crossover between a lecture and a demonstration."}, {"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}, {"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}, {"id": "31", "sentence": "A huge public announcement system was in the office blazing loud, but very articulated sound."}], "radio": [{"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "28", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "28", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "zine": [{"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "05", "sentence": "The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself."}], "Black": [{"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}, {"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}, {"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}, {"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}, {"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}, {"id": "31", "sentence": "One of Marco's most-known projects is called 'Black Mass Implosion'."}, {"id": "31", "sentence": "One of Marco's most-known projects is called 'Black Mass Implosion'."}, {"id": "31", "sentence": "Fusinato's 'Mass Black Implosion' series began in 2007."}, {"id": "31", "sentence": "Fusinato's 'Mass Black Implosion' series began in 2007."}], "death": [{"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}], "throughout": [{"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages throughout its history: 1."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}], "familiar": [{"id": "01", "sentence": "Later on, this developed into the type of musical notation we are familiar with in Western music."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}], "derive": [{"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}], "quo": [{"id": "26", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}], "polyphonic": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}], "safer": [{"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}], "broadcasting": [{"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "exchanges": [{"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "polyurethane": [{"id": "22", "sentence": "We also produced a limited polyurethane record with Fersteinn."}], "exhibition": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}], "scripting": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "Winnipeg": [{"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}], "manmade": [{"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}], "Dream": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}], "sooner": [{"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "Park": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Repeating": [{"id": "12", "sentence": "Repeating, 4."}, {"id": "12", "sentence": "Post-Repeating."}], "EDITION": [{"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}], "chamber": [{"id": "22", "sentence": "It results in very delicate and unconventional chamber music."}], "sound": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "The 'E-ARTHHA' event is about the search for new interfaces and possibilities for sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "The 'E-ARTHHA' event is about the search for new interfaces and possibilities for sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "01", "sentence": "This continues to question the representation of sound in media to this day."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "01", "sentence": "This continues to question the representation of sound in media to this day."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "04", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "Every aspect of his work deals with the quality of sound."}, {"id": "04", "sentence": "JUSTIN BENNETT (UK) Justin Bennett is an artist working with sound and visual media."}, {"id": "04", "sentence": "At every level of detail, the everyday sound of our urban surroundings is the focus of his work."}, {"id": "04", "sentence": "Within it, he develops the reciprocity of music and architecture, and of sound and image."}, {"id": "04", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "Every aspect of his work deals with the quality of sound."}, {"id": "04", "sentence": "JUSTIN BENNETT (UK) Justin Bennett is an artist working with sound and visual media."}, {"id": "04", "sentence": "At every level of detail, the everyday sound of our urban surroundings is the focus of his work."}, {"id": "04", "sentence": "Within it, he develops the reciprocity of music and architecture, and of sound and image."}, {"id": "05", "sentence": "The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded."}, {"id": "05", "sentence": "The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "TELCOSYSTEMS (NL) Telcosystems presents 'Resonanz', an electronic book combining a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "With 'Resonanz', Telcosystems presents an electronic book that combines a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}, {"id": "07", "sentence": "— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne."}, {"id": "07", "sentence": "She is part of the sound art collective Sculptress of Sound."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "TELCOSYSTEMS (NL) Telcosystems presents 'Resonanz', an electronic book combining a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "With 'Resonanz', Telcosystems presents an electronic book that combines a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}, {"id": "07", "sentence": "— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne."}, {"id": "07", "sentence": "She is part of the sound art collective Sculptress of Sound."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "09", "sentence": "JOHANNES BERGMARK (SE) Johannes Bergmark is a Fylkingen-affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "JOHANNES BERGMARK (SE) Johannes Bergmark is a Fylkingen-affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}, {"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "19", "sentence": "For example, his work 'frakativ' is an electronic visual sound poetry performance."}, {"id": "19", "sentence": "The performance 'frikativ' is real-time generated visual and sound poetry."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "19", "sentence": "For example, his work 'frakativ' is an electronic visual sound poetry performance."}, {"id": "19", "sentence": "The performance 'frikativ' is real-time generated visual and sound poetry."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}, {"id": "20", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "20", "sentence": "Inspiration comes in the form of vocal poetry, 'poésie sonore' and text-sound composition."}, {"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}, {"id": "20", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "20", "sentence": "Inspiration comes in the form of vocal poetry, 'poésie sonore' and text-sound composition."}, {"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "21", "sentence": "Gunnarsson's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "21", "sentence": "Gunnarsson's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "25", "sentence": "She works with sound, video, installation and performance."}, {"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "25", "sentence": "She works with sound, video, installation and performance."}, {"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "25", "sentence": "This 'other way' to come to sound is an interesting phenomenon."}, {"id": "25", "sentence": "This 'other way' to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "27", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "27", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "27", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "27", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "27", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "27", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "27", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "27", "sentence": "Currently, Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "27", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "27", "sentence": "Currently, Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}, {"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}, {"id": "27", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "The sound of the mine was always present."}, {"id": "27", "sentence": "I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "27", "sentence": "In practice it's quite mathematical, but it still it is part of the sound world too."}, {"id": "27", "sentence": "It’s a kind of sound alchemy."}, {"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}, {"id": "27", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "The sound of the mine was always present."}, {"id": "27", "sentence": "I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "27", "sentence": "In practice it's quite mathematical, but it still it is part of the sound world too."}, {"id": "27", "sentence": "It’s a kind of sound alchemy."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "28", "sentence": "He is currently a sound designer at the Art Academy of Bologna, Italy."}, {"id": "28", "sentence": "Since the beginning of his practice, he has made extensive use of recorded sound."}, {"id": "28", "sentence": "He is currently a sound designer at the Art Academy of Bologna, Italy."}, {"id": "28", "sentence": "Since the beginning of his practice, he has made extensive use of recorded sound."}, {"id": "30", "sentence": "This one is a pretty contemporary example and results in great imagery and sound."}, {"id": "30", "sentence": "This one is a pretty contemporary example and results in great imagery and sound."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "31", "sentence": "A huge public announcement system was in the office blazing loud, but very articulated sound."}, {"id": "31", "sentence": "A huge public announcement system was in the office blazing loud, but very articulated sound."}], "satisfaction": [{"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "Candyman": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "detected": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "UK": [{"id": "04", "sentence": "JUSTIN BENNETT (UK) Justin Bennett is an artist working with sound and visual media."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "by Band Aid 'Do Without My Love' by Nathan [UK] 'Do You Know?"}], "happen": [{"id": "27", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}], "Margreet": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "Higinbotham": [{"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}], "emancipate": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}], "1983": [{"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "professional": [{"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "28", "sentence": "When we met we had discussions about several professional subjects and decided to realise a publication."}], "v3": [{"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}], "project": [{"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp-based artists to contribute to the project."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016, 2017 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "02", "sentence": "We worked around the ideas present in our 'Pushing Scores' project."}, {"id": "02", "sentence": "Each student had to develop their own project around the process of making a score."}, {"id": "04", "sentence": "These books were the starting point for curating the event, which subsequently sat within our 'Pushing Scores' project."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "06", "sentence": "Principium' comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the working process."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "The invitation was perfectly suited for a project in public space that he had in mind for 'Pushing Scores'."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "12", "sentence": "He calls this chapter 'Represent' because it is the project of the executive."}, {"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}, {"id": "13", "sentence": "The entire 'Pushing Scores' project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}, {"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "25", "sentence": "Ana Guedes' project 'UNTITLED RECORDS' fits into our idea of finding new ways to compose very seamlessly."}, {"id": "26", "sentence": "She presented her project entitled 'Arachnes Sonifier', in which she captures and makes audible spider webs."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "27", "sentence": "Benny Nilsen approached us with his project 'ORE'."}, {"id": "27", "sentence": "It doesn't relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}, {"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}, {"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "tune": [{"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}], "behind": [{"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "abstract": [{"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "20", "sentence": "In a multicultural situation, abstract sounds are forms of recognition; then there is, for example, music."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "sonification": [{"id": "26", "sentence": "The sonification of spider webs asserts a reverence for the environment, the beauty of the ephemeral and loss."}], "2006": [{"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}], "index": [{"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}], "decade": [{"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "slow": [{"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}], "Goudron": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Steel": [{"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "artwork": [{"id": "06", "sentence": "Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}], "indeed": [{"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}], "7": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Will.I.Am": [{"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}], "Rozendaal": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "RAFAËL ROZENDAAL (NL) Rafaël Rozendaal is a visual artist who uses the Internet as his canvas."}, {"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "precisely": [{"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}], "practices": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}], "patterns": [{"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "21", "sentence": "Gunnarsson's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}], "perspectives": [{"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "feat": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "The Miami Project 'Anthem' by Filo & Peri feat."}, {"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}, {"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}, {"id": "24", "sentence": "Justin Timberlake & Timbaland 'Baby Baby' by Sunblock feat."}, {"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}, {"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}, {"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}, {"id": "24", "sentence": "Shena 'Dark Road' by Annie Lennox 'Delivery' by Babyshambles 'Desecration Smile' by Red Hot Chili Peppers 'Destination Calabria' by Alex Gaudino feat."}], "revenue": [{"id": "27", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}], "Our": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}], "Zac": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "treated": [{"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "magazine/object": [{"id": "02", "sentence": "All these scores then had to come together in one magazine/object."}], "real-time": [{"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}, {"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "19", "sentence": "The performance 'frikativ' is real-time generated visual and sound poetry."}], "networks": [{"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}], "Finnendahl": [{"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}], "Institute": [{"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}, {"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "somewhere": [{"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "Kris Delacourt: The 10\" records have all been sold as well, so they sit somewhere in the middle."}], "Dykeenies": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Shots": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "undertake": [{"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}], "engineered": [{"id": "02", "sentence": "TGC#3 is a particular kind of publishing platform engineered for sonic experiments, instruments and installations."}], "sleeves": [{"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}], "theme": [{"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}], "showed": [{"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}], "if": [{"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it's own."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or perhaps you would perceive it as a failure if it weren't enjoyable without the concept?"}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "You can only survive there if you work with nature."}], "Buma": [{"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}], "Fall": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "TGC": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "TGC#3 is a particular kind of publishing platform engineered for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpart to his own musical input."}], "twelve": [{"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}, {"id": "06", "sentence": "The final installation will have twelve separate pieces: A complete octave."}, {"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "06", "sentence": "Together, all twelve records form the complete set, which one 'game' requires."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "There’s something appealing in the number twelve even, and there's the appeal of building instruments too."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}], "grown": [{"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}], "matter": [{"id": "04", "sentence": "It’s not a matter of an event between spectators and a musician– it’s a space to submit to a process."}, {"id": "24", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}], "counterpoints": [{"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}], "snow": [{"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}], "experiments": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "02", "sentence": "TGC#3 is a particular kind of publishing platform engineered for sonic experiments, instruments and installations."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}], "graphic": [{"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016, 2017 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "So what is the current state of the graphic score?"}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016, 2017 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "So what is the current state of the graphic score?"}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "It was a good concert and her way of working fit into our ideas of exploring graphic scores very well."}, {"id": "10", "sentence": "It was a good concert and her way of working fit into our ideas of exploring graphic scores very well."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "An interactive graphic score/light box/kinetic work fixed inside the cabinet, and 2."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "An interactive graphic score/light box/kinetic work fixed inside the cabinet, and 2."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}, {"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer based in Amsterdam."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer based in Amsterdam."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "31", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "games": [{"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "models": [{"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}], "Maccabees": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "films": [{"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}], "banal": [{"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "intertwined": [{"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}], "Giralt": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "direction": [{"id": "06", "sentence": ", that I went in that direction."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}], "Flintstone": [{"id": "02", "sentence": "‘Fred Flintstone meets the twenty-first century’, it was referred to as."}], "remain": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "05", "sentence": "It is a complex work that nevertheless manages to remain simple and accessible in its final execution."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "young": [{"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}], "be": [{"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Metrostation Maashaven."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "02", "sentence": "This is a magazine without any format, with the intention for a new one to be developed each time."}, {"id": "02", "sentence": "One restriction was decided upon: The scores had to be presented on floppy disc."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "05", "sentence": "We have known Vaast Colson to be an interesting artist for quite some time already."}, {"id": "05", "sentence": "This can be a performance, an object, a book or whatever other form he settles on."}, {"id": "05", "sentence": "This print run is to be seen as a performative action."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be referred to as 'post-ironic'."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Interestingly, he thought his resulting collages would be nice to use as scores – and they probably would have been."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "It's meant to be in a continued state of flux."}, {"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "That's quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "The improvisation might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process as navigating its actualisation."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "On this evening, 'Resonanz' will be the starting point for a Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "For this evening event, 'Resonanz' will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "22", "sentence": "He also used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "Before God needed to be invented there were man."}, {"id": "24", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "24", "sentence": "This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "25", "sentence": "Because she uses and records the archive, the end result almost turns out to be a DJ set."}, {"id": "26", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}, {"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "It's good for the human psyche to be reminded of that."}, {"id": "27", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "27", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}, {"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}, {"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}, {"id": "31", "sentence": "From this perspective, his live performances can also be considered as black mass implosions."}, {"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}], "Atli": [{"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "Image": [{"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}], "critical": [{"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "13", "sentence": "He sees it as punk, experimental, noise, investigative and critical, searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}], "80s": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}], "starting": [{"id": "04", "sentence": "These books were the starting point for curating the event, which subsequently sat within our 'Pushing Scores' project."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "07", "sentence": "On this evening, 'Resonanz' will be the starting point for a Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "For this evening event, 'Resonanz' will be the starting point of Q&A, demonstration and live presentation."}, {"id": "25", "sentence": "Her archival approach and its political and personal implications are the starting point of this work."}, {"id": "27", "sentence": "The composition follows a more or less linear path, starting with 'deep' time."}, {"id": "27", "sentence": "The composition follows a more or less linear path – starting with deep time."}], "tens": [{"id": "06", "sentence": "So the C note runs for tens minutes and the B note is something like five minutes and twenty seconds."}], "seeking": [{"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}], "microphones": [{"id": "05", "sentence": "The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called 'telephone adapters'."}], "Those": [{"id": "27", "sentence": "Those recordings symbolise the stasis of time."}], "need": [{"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}], "recherches": [{"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}], "Almost": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "impossibilities": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}], "Earth": [{"id": "27", "sentence": "Far down in the Earth the rock is actually moving."}], "Pipkin": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "update": [{"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}], "influence": [{"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "27", "sentence": "How much influence does it have on a community?"}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}], "allow": [{"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "connect": [{"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}], "factories": [{"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "Tumbai": [{"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}], "representations": [{"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}], "leads": [{"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "We have a tunnel that leads there."}], "Tonight": [{"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}], "gained": [{"id": "21", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained."}], "Hunk": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "González": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "Hohti": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "enormous": [{"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}], "genres": [{"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}], "nonetheless": [{"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}], "yielding": [{"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}], "Bergen": [{"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}], "electro": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}], "angles": [{"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}], "William": [{"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}], "ambience": [{"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}], "straightforward": [{"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}], "ROTTERDAM": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "silos": [{"id": "27", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}], "off": [{"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "20", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "kitchen": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "overdetermined": [{"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}], "untouched": [{"id": "27", "sentence": "The landscape is fairly untouched, it is scarcely populated, it's desolate."}], "Úlfar": [{"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "started": [{"id": "06", "sentence": "Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}], "Sometimes": [{"id": "06", "sentence": "Sometimes I preferred elements because of harmonic information, notes that work well together, sometimes because of rhythms that worked well, etc."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "27", "sentence": "Sometimes this can go horribly wrong."}], "Peri": [{"id": "24", "sentence": "The Miami Project 'Anthem' by Filo & Peri feat."}], "examine": [{"id": "05", "sentence": "Colson's works examine core questions: What power does art have to change us and our society?"}], "Center": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}], "Carolyna": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "commemoration": [{"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}], "Kinnunen": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "Museum": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "The work was installed for a period at The Small Museum – a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "attempt": [{"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}], "teaches": [{"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}], "women": [{"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "Because": [{"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "12", "sentence": "Because of this ambiguity, we are interested in what this stage of music could represent."}, {"id": "12", "sentence": "Because of this ambiguity, we are interested in what this stage of music could represent."}, {"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}, {"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}, {"id": "25", "sentence": "Because she uses and records the archive, the end result almost turns out to be a DJ set."}, {"id": "25", "sentence": "Because she uses and records the archive, the end result almost turns out to be a DJ set."}], "mid-twentieth": [{"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}], "musician": [{"id": "04", "sentence": "It’s not a matter of an event between spectators and a musician– it’s a space to submit to a process."}, {"id": "04", "sentence": "FLORIS VANHOOF (BE) Floris Vanhoof is a filmmaker and musician from Belgium."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "29", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "copies": [{"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}], "great": [{"id": "06", "sentence": "Shit like that, really great stuff."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it's use as a technology within her work."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "30", "sentence": "This one is a pretty contemporary example and results in great imagery and sound."}], "soundwaves": [{"id": "27", "sentence": "Through soundwaves geologists are able to map what is underground."}], "choose": [{"id": "06", "sentence": "Kris Delacourt: If you force me to choose between those two, then drone."}], "interferometry": [{"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}], "Flenger": [{"id": "06", "sentence": "There's Vaast Colson, Peter Flenger and Dennis Tyfus too."}], "GRM": [{"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}, {"id": "27", "sentence": "The musique concrète, as developed by Henry at GRM, was made by magnetic tape."}, {"id": "27", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "27", "sentence": "There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "27", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}], "Luxembourg": [{"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}], "affecting": [{"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "thus": [{"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}], "using": [{"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "There's something appealing in using a single octave as a building block."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "21", "sentence": "Gunnarsson's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "21", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "Instead of using traditional musical scores during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "intention": [{"id": "02", "sentence": "This is a magazine without any format, with the intention for a new one to be developed each time."}, {"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}], "computer": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "VALENTINA VUKSIC (CH/NL) Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called 'telephone adapters'."}, {"id": "10", "sentence": "By writing choreographies for software and computer elements, she utilises these technologies as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers the time and space of computer processing and memory as levels of reality."}, {"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}, {"id": "21", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "Instead of using traditional musical scores during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "This Icelandic quartet plays with little analogue instruments and animation scores Gunnarsson made on his computer."}, {"id": "22", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}, {"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}], "Maiguashca": [{"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}], "by": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "The work is voiced by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "05", "sentence": "The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded."}, {"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "He was intrigued by the invitation, but it took a long time to develop."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "Principium' comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The usual code of the record, as defined by the music industry, was broken in all works."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "11", "sentence": "The piece is voiced by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "19", "sentence": "Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "19", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "21", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "This technique of composing is performed by Guðmundur Steinn Gunnarsson and his quartet Fersteinn."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}, {"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}, {"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Timbaland 'Another One Bites The Dust' by Queen vs."}, {"id": "24", "sentence": "The Miami Project 'Anthem' by Filo & Peri feat."}, {"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}, {"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}, {"id": "24", "sentence": "Justin Timberlake & Timbaland 'Baby Baby' by Sunblock feat."}, {"id": "24", "sentence": "Sandy 'Baby Fratelli' by The Fratellis 'Baby Love' by Nicole Scherzinger Feat."}, {"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}, {"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}, {"id": "24", "sentence": "Patrick Stump 'Curvy Cola Bottle Body' by Chico 'D.A.N.C.E."}, {"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}, {"id": "24", "sentence": "Shena 'Dark Road' by Annie Lennox 'Delivery' by Babyshambles 'Desecration Smile' by Red Hot Chili Peppers 'Destination Calabria' by Alex Gaudino feat."}, {"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}, {"id": "24", "sentence": "by Band Aid 'Do Without My Love' by Nathan [UK] 'Do You Know?"}, {"id": "24", "sentence": "The Ping Pong Song)' by Enrique Iglesias 'Doing It Right' by The Go!"}, {"id": "24", "sentence": "Team 'Don't' by Elvis Presley With The Jordanaires 'Don't Dance' by Midas 'Don't Give It Up' by Siobhan Donaghy"}, {"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "The musique concrète, as developed by Henry at GRM, was made by magnetic tape."}, {"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}, {"id": "27", "sentence": "Mining' by BJ Nilsen, 'Jazz' by Max Franklin and 'Earthquake' by Aurelie Lierman."}, {"id": "27", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "27", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "27", "sentence": "Were they forced up North by circumstances?"}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}, {"id": "29", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}, {"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}, {"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "planes": [{"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}], "scarcely": [{"id": "27", "sentence": "The landscape is fairly untouched, it is scarcely populated, it's desolate."}], "have": [{"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "05", "sentence": "We have known Vaast Colson to be an interesting artist for quite some time already."}, {"id": "05", "sentence": "Colson's works examine core questions: What power does art have to change us and our society?"}, {"id": "06", "sentence": "The final installation will have twelve separate pieces: A complete octave."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Interestingly, he thought his resulting collages would be nice to use as scores – and they probably would have been."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}, {"id": "06", "sentence": "I could have gone for something more 'correct' in terms of concept – I don't know, pure sine waves or something."}, {"id": "06", "sentence": "How do you perceive the function a piece of vinyl can have?"}, {"id": "06", "sentence": "Kris Delacourt: The 10\" records have all been sold as well, so they sit somewhere in the middle."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "12", "sentence": "At the time of writing it would have been quite prophetic."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "20", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "How much influence does it have on a community?"}, {"id": "27", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope."}, {"id": "27", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "27", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "27", "sentence": "That's why I wanted to have a thread about the regeneration of mining areas."}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "27", "sentence": "If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste."}, {"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "27", "sentence": "You have to take a boat to get there."}, {"id": "27", "sentence": "We have a tunnel that leads there."}, {"id": "27", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them ."}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "Electronic": [{"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "information": [{"id": "06", "sentence": "Sometimes I preferred elements because of harmonic information, notes that work well together, sometimes because of rhythms that worked well, etc."}, {"id": "13", "sentence": "He sees it as punk, experimental, noise, investigative and critical, searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}, {"id": "30", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}], "Bank": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}], "Universiteit": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Curvy": [{"id": "24", "sentence": "Patrick Stump 'Curvy Cola Bottle Body' by Chico 'D.A.N.C.E."}], "Raspberry": [{"id": "02", "sentence": "It has a Raspberry Pi sits at its core, and is programmed for several applications."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}], "guitar": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "Spectral Arrows' is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "Here": [{"id": "20", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}], "particularly": [{"id": "12", "sentence": "It was particularly of interested to us because of the way in which he focuses on the reproduction of music."}, {"id": "24", "sentence": "This makes it particularly interesting when viewed from the perspective of experimentation and unorthodox composing."}], "Represent": [{"id": "12", "sentence": "He calls this chapter 'Represent' because it is the project of the executive."}], "Koos": [{"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job designing the packaging."}, {"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}], "occurrences": [{"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}], "parking": [{"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "Browne": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "discarded": [{"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}], "approached": [{"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "27", "sentence": "Benny Nilsen approached us with his project 'ORE'."}], "takes": [{"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}, {"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}], "Carey": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "continuously": [{"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}], "site": [{"id": "06", "sentence": "DE PLAYER: The Ultra Eczema site refers to this record as your debut LP."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}], "realised": [{"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}], "Ben": [{"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}], "Pa-Ra-Di-So": [{"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}], "0.2": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Knierzinger": [{"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}], "Fri": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}], "Maashaven": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Metrostation Maashaven."}], "researches": [{"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}], "generation": [{"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be referred to as 'post-ironic'."}], "unreadable/unplayable": [{"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}], "staff": [{"id": "08", "sentence": "We decided to envision the framework for the installation as a three-dimensional staff to write down music."}, {"id": "11", "sentence": "In the eleventh century, Guido van Arezo introduced the staff with four lines (this is still in use)."}], "art": [{"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is also an art book publisher (Onomatopee, Eindhoven, and WdW Review, Rotterdam)."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "05", "sentence": "Colson's works examine core questions: What power does art have to change us and our society?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "He opens up the artistic field to explore what is happening in the art world."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "So I don't think I belong in the conceptual art section."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "She is part of the sound art collective Sculptress of Sound."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}, {"id": "10", "sentence": "The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "24", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "27", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}, {"id": "29", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}], "SCORES": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}], "tapestry": [{"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}], "programme": [{"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "08", "sentence": "The initiatives gather within a part of the programme called 'Intersections'."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson has been part of DE PLAYER's programme with his quartet Fersteinn several times."}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}], "putting": [{"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}], "Colbie": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "filters": [{"id": "27", "sentence": "I apply filters, use electronics."}], "Luv": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Doing": [{"id": "24", "sentence": "The Ping Pong Song)' by Enrique Iglesias 'Doing It Right' by The Go!"}], "friends": [{"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "waiting": [{"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}], "ordering": [{"id": "13", "sentence": "He sees it as punk, experimental, noise, investigative and critical, searching for dissonance and ordering of information, for rhythm and tonality."}], "evening": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "07", "sentence": "On this evening, 'Resonanz' will be the starting point for a Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "For this evening event, 'Resonanz' will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "Varia will host the evening, and explain their ideas and approach to developing the archive."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}], "1972": [{"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}], "oscilloscopes": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}], "TUNING": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}], "voice": [{"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "28", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}], "follows": [{"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "27", "sentence": "The composition follows a more or less linear path, starting with 'deep' time."}, {"id": "27", "sentence": "The composition follows a more or less linear path – starting with deep time."}], "failure": [{"id": "06", "sentence": "Or perhaps you would perceive it as a failure if it weren't enjoyable without the concept?"}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}], "Economy": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}], "set": [{"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}, {"id": "06", "sentence": "Together, all twelve records form the complete set, which one 'game' requires."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "13", "sentence": "The entire 'Pushing Scores' project was set up in cooperation with Remco van Bladel."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "25", "sentence": "Because she uses and records the archive, the end result almost turns out to be a DJ set."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "discursive": [{"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}], "headed": [{"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}], "encompasses": [{"id": "13", "sentence": "This encompasses the conceptualisation, the funding and the execution."}], "moving": [{"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "22", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "27", "sentence": "Far down in the Earth the rock is actually moving."}], "approaches": [{"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "07", "sentence": "To complete the event we searched for two completely different approaches to composition."}, {"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called 'telephone adapters'."}, {"id": "13", "sentence": "Yet these alternate approaches brought us together and made 'Pushing Scores' real."}, {"id": "24", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}], "hypnotising": [{"id": "07", "sentence": "It's strangely hypnotising."}], "freely": [{"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}, {"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}], "ethics": [{"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}], "worth": [{"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}], "honourable": [{"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job designing the packaging."}], "initially": [{"id": "06", "sentence": "I think initially he wanted to do a tape."}], "POLY-DISO": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}], "1963": [{"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}], "Elder": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "Far": [{"id": "27", "sentence": "Far down in the Earth the rock is actually moving."}], "sped": [{"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}], "HILKMANN": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}], "as": [{"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "‘Fred Flintstone meets the twenty-first century’, it was referred to as."}, {"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "RAFAËL ROZENDAAL (NL) Rafaël Rozendaal is a visual artist who uses the Internet as his canvas."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "05", "sentence": "This print run is to be seen as a performative action."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be referred to as 'post-ironic'."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "It was presented at Stadslimiet, Antwerp, as an installation piece on 2 Jul 2015."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "Interestingly, he thought his resulting collages would be nice to use as scores – and they probably would have been."}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}, {"id": "06", "sentence": "Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "It just rang as very poetic to me."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "It's an iron board and it has the same visuals as the sticker sheets."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There's something appealing in using a single octave as a building block."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "Kris Delacourt: The 10\" records have all been sold as well, so they sit somewhere in the middle."}, {"id": "06", "sentence": "They were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "It really was a one-time event, with the vinyls functioning as a tool, yes."}, {"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "Kris Delacourt: I do look at it as a solo thing."}, {"id": "06", "sentence": "But Vaast, for instance, refuses to regard it as his doing."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process as navigating its actualisation."}, {"id": "06", "sentence": "DE PLAYER: The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: As your first 'real' album, as a statement?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "I don't think of it as a manifesto or anything."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "06", "sentence": "DE PLAYER: Do you see this as a drone record?"}, {"id": "06", "sentence": "Or as a collage record?"}, {"id": "06", "sentence": "Or perhaps you would perceive it as a failure if it weren't enjoyable without the concept?"}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "In the case of the 'prepared record', the record or musical piece is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "The usual code of the record, as defined by the music industry, was broken in all works."}, {"id": "08", "sentence": "We decided to envision the framework for the installation as a three-dimensional staff to write down music."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it's use as a technology within her work."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "However, it was decided to start from the floppy disc as a medium."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the working process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}, {"id": "10", "sentence": "By writing choreographies for software and computer elements, she utilises these technologies as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers the time and space of computer processing and memory as levels of reality."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "He sees it as punk, experimental, noise, investigative and critical, searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}, {"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "20", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}, {"id": "20", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "21", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "24", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "24", "sentence": "His work is described as conceptual music."}, {"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}, {"id": "24", "sentence": "This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}, {"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}, {"id": "26", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "26", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}, {"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}, {"id": "27", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "The musique concrète, as developed by Henry at GRM, was made by magnetic tape."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}, {"id": "27", "sentence": "I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}, {"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}, {"id": "29", "sentence": "Varia has developed a context and technical environment as a web-based archival publication."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}, {"id": "30", "sentence": "People who make black MIDIs are known as 'blackers'."}, {"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}, {"id": "31", "sentence": "From this perspective, his live performances can also be considered as black mass implosions."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "hospital": [{"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "End": [{"id": "06", "sentence": "End of piece."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Verka": [{"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}], "problem": [{"id": "06", "sentence": "What was the problem?"}], "Better": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "investigates": [{"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}], "Jason": [{"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "interpret": [{"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}], "touchpads": [{"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}], "promise": [{"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}], "Next": [{"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}], "Bennett": [{"id": "04", "sentence": "JUSTIN BENNETT (UK) Justin Bennett is an artist working with sound and visual media."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "radiating": [{"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}], "Red": [{"id": "24", "sentence": "Shena 'Dark Road' by Annie Lennox 'Delivery' by Babyshambles 'Desecration Smile' by Red Hot Chili Peppers 'Destination Calabria' by Alex Gaudino feat."}], "interweaves": [{"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}], "meet": [{"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}], "sound-text": [{"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}], "Freiburg": [{"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}, {"id": "24", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}], "mention": [{"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job designing the packaging."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}], "wolframite": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "deterministic": [{"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}], "change": [{"id": "05", "sentence": "Colson's works examine core questions: What power does art have to change us and our society?"}, {"id": "05", "sentence": "What emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}], "reduced": [{"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}], "Yann": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}], "Data": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "rendering": [{"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "completed": [{"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}], "With": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "07", "sentence": "With 'Resonanz', Telcosystems presents an electronic book that combines a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Team 'Don't' by Elvis Presley With The Jordanaires 'Don't Dance' by Midas 'Don't Give It Up' by Siobhan Donaghy"}], "continue": [{"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}], "repeating": [{"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}], "stability": [{"id": "27", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}], "Guetta": [{"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}], "microphone": [{"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}], "overlaps": [{"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}], "soon": [{"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}], "MATA": [{"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "debut": [{"id": "06", "sentence": "DE PLAYER: The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}], "d": [{"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}], "Fine": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Glasgow": [{"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "five": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "06", "sentence": "So the C note runs for tens minutes and the B note is something like five minutes and twenty seconds."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}], "press": [{"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}], "VAGUE": [{"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}], "later": [{"id": "11", "sentence": "A seventh note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}], "Marc": [{"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}], "me": [{"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "06", "sentence": "As mentioned, this is the short version, can you give me the full story?"}, {"id": "06", "sentence": "It just rang as very poetic to me."}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "But it's still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "Kris Delacourt: If you force me to choose between those two, then drone."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "26", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "These questions are really haunting me ."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}], "ambiguity": [{"id": "12", "sentence": "Because of this ambiguity, we are interested in what this stage of music could represent."}], "experimenting": [{"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "Sex": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "perfect": [{"id": "30", "sentence": "In that sense, there is never a perfect reproduction but always an interpretation."}], "reach": [{"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}], "counts": [{"id": "30", "sentence": "This not only counts for publishing but also for exploring new possibilities for artist practice in general."}], "Czech": [{"id": "27", "sentence": "Both in active mines and in the abandoned mines and buildings surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "27", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}], "Irish": [{"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "cacti": [{"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "originated": [{"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}], "many": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "27", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "30", "sentence": "The end titles of many black MIDI videos display how many notes are in the piece."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "concentration": [{"id": "06", "sentence": "That's quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "Dark": [{"id": "24", "sentence": "Shena 'Dark Road' by Annie Lennox 'Delivery' by Babyshambles 'Desecration Smile' by Red Hot Chili Peppers 'Destination Calabria' by Alex Gaudino feat."}, {"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}], "505": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "newly": [{"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}], "Down": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "indicates": [{"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "mysterious": [{"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}], "Post-Repeating": [{"id": "12", "sentence": "Post-Repeating."}], "draws": [{"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "dialectic": [{"id": "25", "sentence": "Her research focuses on the 'dialectic of tuning'."}], "array": [{"id": "27", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}], "metres": [{"id": "24", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "27", "sentence": "If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste."}], "underlying": [{"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}], "uploaded": [{"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}, {"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "Vincent": [{"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}], "prophetic": [{"id": "12", "sentence": "At the time of writing it would have been quite prophetic."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}], "indeterminable": [{"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}], "ironic": [{"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be referred to as 'post-ironic'."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "processing": [{"id": "10", "sentence": "Vuksic considers the time and space of computer processing and memory as levels of reality."}, {"id": "27", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "27", "sentence": "I'm always processing and refining my field recordings."}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}], "business": [{"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "already": [{"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "05", "sentence": "We have known Vaast Colson to be an interesting artist for quite some time already."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}], "consider": [{"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}], "fraternies": [{"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}], "tend": [{"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}, {"id": "27", "sentence": "It just turned out that way, perhaps because that's how we generally tend to structure material."}], "Drivers": [{"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "millions": [{"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}], "followed": [{"id": "06", "sentence": "I followed that score for eight hours straight."}, {"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}], "Half": [{"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}], "Arezo": [{"id": "11", "sentence": "In the eleventh century, Guido van Arezo introduced the staff with four lines (this is still in use)."}], "care": [{"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}], "hundreds": [{"id": "27", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "27", "sentence": "I had hundreds of cassette tapes, mostly TDK."}], "concrete": [{"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "02", "sentence": "The result is a combination of several media, which all coexist in a designed concrete object."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "repertoire": [{"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}], "DUPAC": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "once": [{"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}], "short": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "06", "sentence": "As mentioned, this is the short version, can you give me the full story?"}, {"id": "06", "sentence": "Kris Delacourt: You do it in short sessions, hah."}, {"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}], "inspiring": [{"id": "17", "sentence": "He is inspiring for a lot of performance-based composers."}], "storage": [{"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}], "an": [{"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "02", "sentence": "We proposed to the students that they devise an issue of our publication Tetra Gamma Circulaire."}, {"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "It’s not a matter of an event between spectators and a musician– it’s a space to submit to a process."}, {"id": "04", "sentence": "JUSTIN BENNETT (UK) Justin Bennett is an artist working with sound and visual media."}, {"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is also an art book publisher (Onomatopee, Eindhoven, and WdW Review, Rotterdam)."}, {"id": "05", "sentence": "We have known Vaast Colson to be an interesting artist for quite some time already."}, {"id": "05", "sentence": "This can be a performance, an object, a book or whatever other form he settles on."}, {"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "05", "sentence": "What emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "It was presented at Stadslimiet, Antwerp, as an installation piece on 2 Jul 2015."}, {"id": "06", "sentence": "This is an interview with Kris Delacourt (Remörk) on his practice and the 'Principium' story."}, {"id": "06", "sentence": "The interview was conducted after he exhibited 'Principium 2.0' in an installation setting at Stadslimiet, Antwerp."}, {"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "It's an iron board and it has the same visuals as the sticker sheets."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}, {"id": "06", "sentence": "In this way you would end up with all different records, each one an original."}, {"id": "06", "sentence": "Yet I felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job designing the packaging."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB Records."}, {"id": "06", "sentence": "DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "TELCOSYSTEMS (NL) Telcosystems presents 'Resonanz', an electronic book combining a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "With 'Resonanz', Telcosystems presents an electronic book that combines a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "Resonanz' is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}, {"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "09", "sentence": "Transmitted through a beamer and an audio system, everything becomes visible and audible."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (of one or more people)."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}, {"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}, {"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "It was an investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "For example, his work 'frakativ' is an electronic visual sound poetry performance."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}, {"id": "20", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}, {"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "25", "sentence": "This 'other way' to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}, {"id": "27", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "27", "sentence": "It is a vast scar in the landscape, and really an incredible place."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}, {"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "27", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "27", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "27", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "27", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "28", "sentence": "Duncan also often works with Carl Michael Hausswolff, who is an expert in EVP."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "In that sense, there is never a perfect reproduction but always an interpretation."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}, {"id": "31", "sentence": "Spectral Arrows' is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}, {"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "SESSION": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}], "innovative": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "Rare-earth": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "similarities": [{"id": "13", "sentence": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}], "Teddy": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "air": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "Belgian": [{"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}], "sensors": [{"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}], "Pieces": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "endurance": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "everything": [{"id": "09", "sentence": "Transmitted through a beamer and an audio system, everything becomes visible and audible."}, {"id": "27", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}], "strong": [{"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "31", "sentence": "This creates strong graphic works and partly blackens out the original score."}], "glass": [{"id": "05", "sentence": "The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself."}], "others": [{"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}], "feminist": [{"id": "26", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}], "strongly": [{"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}], "reassembled": [{"id": "06", "sentence": "He then reassembled these line segments into new shapes and new lines."}, {"id": "06", "sentence": "Line segments which he reassembled into new shapes and new lines."}], "military": [{"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "transmitters": [{"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}], "Over": [{"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}, {"id": "27", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "mined": [{"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}], "Pong": [{"id": "24", "sentence": "The Ping Pong Song)' by Enrique Iglesias 'Doing It Right' by The Go!"}], "respective": [{"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}], "truck": [{"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}], "ninty-nine": [{"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}], "mailed": [{"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}], "knowing": [{"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}], "articulated": [{"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "31", "sentence": "A huge public announcement system was in the office blazing loud, but very articulated sound."}], "nicely": [{"id": "06", "sentence": "Peter brought six record players, matching the six colours of the vinyl nicely – two notes each."}], "learnt": [{"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "mine": [{"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "27", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste."}, {"id": "27", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "The sound of the mine was always present."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}], "kind": [{"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "02", "sentence": "TGC#3 is a particular kind of publishing platform engineered for sonic experiments, instruments and installations."}, {"id": "02", "sentence": "Some dare to say that it’s a kind of jukebox."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But it's still a relevant idea to me, this kind of creative misuse."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "For this event, Kahn did some kind of improvisation session on the works of the three invited artists."}, {"id": "27", "sentence": "It’s a kind of sound alchemy."}], "impulse": [{"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}], "Summit": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "lights": [{"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}], "infers": [{"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}], "Guide": [{"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}, {"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}], "Xenakis": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "Franklin": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "As another example, Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "27", "sentence": "Mining' by BJ Nilsen, 'Jazz' by Max Franklin and 'Earthquake' by Aurelie Lierman."}], "turning": [{"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}], "immediately": [{"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}], "Improper": [{"id": "20", "sentence": "Improper uses of consumer electronics (e.g."}], "webs": [{"id": "26", "sentence": "She presented her project entitled 'Arachnes Sonifier', in which she captures and makes audible spider webs."}, {"id": "26", "sentence": "The sonification of spider webs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "26", "sentence": "When the webs are harvested, my hand affects their original form."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}], "printed": [{"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}, {"id": "12", "sentence": "It refers to the era of printed music (1500–1900)."}, {"id": "24", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}], "Era": [{"id": "07", "sentence": "On the live oscilloscope concert Holzer states, 'The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "fiction": [{"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}], "reminds": [{"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}], "senior": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}], "sequentially": [{"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "Yourself": [{"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}], "intently": [{"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}], "layers": [{"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "27", "sentence": "I'm very interested in the hidden layers and history the landscape."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "27", "sentence": "We can see layers of hematite."}], "amplitude": [{"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}], "engagement": [{"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}], "glissandi": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "reuse": [{"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}], "Pavilion": [{"id": "13", "sentence": "He designed the publication and identity of the 'Aalto Natives' at the Finnish Pavilion of the 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}], "visuals": [{"id": "06", "sentence": "It's an iron board and it has the same visuals as the sticker sheets."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "correlations": [{"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}], "installed": [{"id": "11", "sentence": "The work was installed for a period at The Small Museum – a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "operates": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}], "s": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "02", "sentence": "Some dare to say that it’s a kind of jukebox."}, {"id": "02", "sentence": "Some dare to say that it’s a kind of jukebox."}, {"id": "04", "sentence": "It’s not a matter of an event between spectators and a musician– it’s a space to submit to a process."}, {"id": "04", "sentence": "It’s not a matter of an event between spectators and a musician– it’s a space to submit to a process."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "05", "sentence": "Colson's works examine core questions: What power does art have to change us and our society?"}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "Colson's works examine core questions: What power does art have to change us and our society?"}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "Principium 2.0' is then another piece in step with the principle of Colson's original 'Principium'."}, {"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "Principium 2.0' is then another piece in step with the principle of Colson's original 'Principium'."}, {"id": "06", "sentence": "At least, that's where the initial form and the name came from."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "It's an iron board and it has the same visuals as the sticker sheets."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}, {"id": "06", "sentence": "It's meant to be in a continued state of flux."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "So that's what happened."}, {"id": "06", "sentence": "Kris Delacourt: Oh, I think it's definitely something that's still evolving."}, {"id": "06", "sentence": "There's something appealing in using a single octave as a building block."}, {"id": "06", "sentence": "There’s something appealing in the number twelve even, and there's the appeal of building instruments too."}, {"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "That's quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it's own."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "But it's still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "There's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "That's just another way of letting things go, of giving up control."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "06", "sentence": "Kris Delacourt: I certainly do hope that it's enjoyable."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "At least, that's where the initial form and the name came from."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "It's an iron board and it has the same visuals as the sticker sheets."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}, {"id": "06", "sentence": "It's meant to be in a continued state of flux."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "So that's what happened."}, {"id": "06", "sentence": "Kris Delacourt: Oh, I think it's definitely something that's still evolving."}, {"id": "06", "sentence": "There's something appealing in using a single octave as a building block."}, {"id": "06", "sentence": "There’s something appealing in the number twelve even, and there's the appeal of building instruments too."}, {"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "That's quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it's own."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "But it's still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "There's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "That's just another way of letting things go, of giving up control."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "06", "sentence": "Kris Delacourt: I certainly do hope that it's enjoyable."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "It's strangely hypnotising."}, {"id": "07", "sentence": "Julia's solo live performances primarily refer to the modified vinyl records that produce extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "07", "sentence": "It's strangely hypnotising."}, {"id": "07", "sentence": "Julia's solo live performances primarily refer to the modified vinyl records that produce extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it's use as a technology within her work."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it's use as a technology within her work."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "09", "sentence": "As another example, Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "As another example, Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "21", "sentence": "Gunnarsson's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "21", "sentence": "Gunnarsson's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson has been part of DE PLAYER's programme with his quartet Fersteinn several times."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson has been part of DE PLAYER's programme with his quartet Fersteinn several times."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}, {"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}, {"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}, {"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}, {"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}, {"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "26", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}, {"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "26", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "27", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "27", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "27", "sentence": "It's not iron ore but lignite, 'braunkohle'."}, {"id": "27", "sentence": "That's why I wanted to have a thread about the regeneration of mining areas."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}, {"id": "27", "sentence": "It just turned out that way, perhaps because that's how we generally tend to structure material."}, {"id": "27", "sentence": "It's absurd when you start to think about it."}, {"id": "27", "sentence": "So much time is compressed in this material and it's burned up in minutes."}, {"id": "27", "sentence": "It's not like wind or the sun, which give you immediate energy."}, {"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "The landscape is fairly untouched, it is scarcely populated, it's desolate."}, {"id": "27", "sentence": "It's good for the human psyche to be reminded of that."}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "27", "sentence": "In practice it's quite mathematical, but it still it is part of the sound world too."}, {"id": "27", "sentence": "It’s a kind of sound alchemy."}, {"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "27", "sentence": "It's not iron ore but lignite, 'braunkohle'."}, {"id": "27", "sentence": "That's why I wanted to have a thread about the regeneration of mining areas."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}, {"id": "27", "sentence": "It just turned out that way, perhaps because that's how we generally tend to structure material."}, {"id": "27", "sentence": "It's absurd when you start to think about it."}, {"id": "27", "sentence": "So much time is compressed in this material and it's burned up in minutes."}, {"id": "27", "sentence": "It's not like wind or the sun, which give you immediate energy."}, {"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "The landscape is fairly untouched, it is scarcely populated, it's desolate."}, {"id": "27", "sentence": "It's good for the human psyche to be reminded of that."}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "27", "sentence": "In practice it's quite mathematical, but it still it is part of the sound world too."}, {"id": "27", "sentence": "It’s a kind of sound alchemy."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}, {"id": "31", "sentence": "One of Marco's most-known projects is called 'Black Mass Implosion'."}, {"id": "31", "sentence": "One of Marco's most-known projects is called 'Black Mass Implosion'."}, {"id": "31", "sentence": "Fusinato's 'Mass Black Implosion' series began in 2007."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}, {"id": "31", "sentence": "Fusinato's 'Mass Black Implosion' series began in 2007."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "hated": [{"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}], "Delivery": [{"id": "24", "sentence": "Shena 'Dark Road' by Annie Lennox 'Delivery' by Babyshambles 'Desecration Smile' by Red Hot Chili Peppers 'Destination Calabria' by Alex Gaudino feat."}], "Fengler": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}], "mechanic": [{"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}], "reed": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}], "REMCO": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}], "Calvin": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "readings": [{"id": "27", "sentence": "Different types of stone give different frequency readings."}], "transformation": [{"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}], "youth": [{"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "27", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "27", "sentence": "Magnetic tape was the medium of my youth."}], "Detmold": [{"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}], "sat": [{"id": "04", "sentence": "These books were the starting point for curating the event, which subsequently sat within our 'Pushing Scores' project."}, {"id": "06", "sentence": "Kris Delacourt: There were some people there that sat through the whole thing, yes."}], "like": [{"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "06", "sentence": "Shit like that, really great stuff."}, {"id": "06", "sentence": "Yet I felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So the C note runs for tens minutes and the B note is something like five minutes and twenty seconds."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "Does it feel like that for you too: As your first 'real' album, as a statement?"}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "27", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "It's not like wind or the sun, which give you immediate energy."}, {"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "27", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "27", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "27", "sentence": "Listening underground is like reading the environment."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}], "prostitute": [{"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}], "facsimile": [{"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "impose": [{"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}], "Sagamihara": [{"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "splatter-chords": [{"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "constellations": [{"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}], "strictly": [{"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}], "miss": [{"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}], "functioning": [{"id": "06", "sentence": "It really was a one-time event, with the vinyls functioning as a tool, yes."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}], "Mar": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}], "passes": [{"id": "26", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}], "turntablism": [{"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}], "attract": [{"id": "04", "sentence": "His websites attract a large audience of over forty million unique visits per year."}], "Clock": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "represent": [{"id": "12", "sentence": "Because of this ambiguity, we are interested in what this stage of music could represent."}, {"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}], "frequent": [{"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}], "Day": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "search": [{"id": "01", "sentence": "The 'E-ARTHHA' event is about the search for new interfaces and possibilities for sound composition, image and performance."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}], "song": [{"id": "23", "sentence": "Before language there was the song."}, {"id": "23", "sentence": "Before the song there was the yodel,' As Bart Plantenga stated in his reading on yodeling."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}], "clarify": [{"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}], "Necrofantasia": [{"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}], "notable": [{"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "Angeles": [{"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}], "converts": [{"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}], "Ellen": [{"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}], "stylus": [{"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}], "Line": [{"id": "06", "sentence": "Line segments which he reassembled into new shapes and new lines."}], "unexpected": [{"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}], "initiate": [{"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}], "Gunnarsson": [{"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "21", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "21", "sentence": "Gunnarsson's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "22", "sentence": "This technique of composing is performed by Guðmundur Steinn Gunnarsson and his quartet Fersteinn."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson has been part of DE PLAYER's programme with his quartet Fersteinn several times."}, {"id": "22", "sentence": "This Icelandic quartet plays with little analogue instruments and animation scores Gunnarsson made on his computer."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}, {"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}, {"id": "22", "sentence": "The idea of 'anitation' and the work of Guðmundur Steinn Gunnarsson fits perfectly within 'Pushing Scores'."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}], "09": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}], "peculiarity": [{"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}], "Cent": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}], "Stump": [{"id": "24", "sentence": "Patrick Stump 'Curvy Cola Bottle Body' by Chico 'D.A.N.C.E."}], "Atari": [{"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}], "poésie": [{"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "20", "sentence": "Inspiration comes in the form of vocal poetry, 'poésie sonore' and text-sound composition."}, {"id": "20", "sentence": "Inspiration comes in the form of vocal poetry, 'poésie sonore' and text-sound composition."}], "instrumentalisation": [{"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}], "modern-day": [{"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}], "technological": [{"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}], "Iron": [{"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}], "facade": [{"id": "11", "sentence": "The work was installed for a period at The Small Museum – a cabinet on the facade of Paradiso, Amsterdam."}], "established": [{"id": "11", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "18", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}], "33rpm": [{"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}], "Armageddon": [{"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}], "Rhizome": [{"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "collectively": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "flux": [{"id": "06", "sentence": "It's meant to be in a continued state of flux."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "loparite": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "good": [{"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "10", "sentence": "It was a good concert and her way of working fit into our ideas of exploring graphic scores very well."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "27", "sentence": "It's good for the human psyche to be reminded of that."}], "valorises": [{"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "Lieven": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}], "presented": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "02", "sentence": "One restriction was decided upon: The scores had to be presented on floppy disc."}, {"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "06", "sentence": "It was presented at Stadslimiet, Antwerp, as an installation piece on 2 Jul 2015."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "26", "sentence": "She presented her project entitled 'Arachnes Sonifier', in which she captures and makes audible spider webs."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}], "rehearsals": [{"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "principles": [{"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}], "entrepreneur": [{"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}], "Shortly": [{"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}], "consistently": [{"id": "24", "sentence": "By acting consistently within these structures he creates his works."}], "Telcosystems": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "TELCOSYSTEMS (NL) Telcosystems presents 'Resonanz', an electronic book combining a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "With 'Resonanz', Telcosystems presents an electronic book that combines a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}], "members": [{"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}, {"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}], "relevant": [{"id": "06", "sentence": "But it's still a relevant idea to me, this kind of creative misuse."}], "upside": [{"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}], "reflective": [{"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "loud": [{"id": "31", "sentence": "A huge public announcement system was in the office blazing loud, but very articulated sound."}], "evolution": [{"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}], "improvise": [{"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "lies": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}], "able": [{"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "27", "sentence": "Through soundwaves geologists are able to map what is underground."}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}], "10": [{"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "Kris Delacourt: The 10\" records have all been sold as well, so they sit somewhere in the middle."}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}], "minimal": [{"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}], "organisations": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}], "audience": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "04", "sentence": "His websites attract a large audience of over forty million unique visits per year."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (of one or more people)."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "29", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}], "Antwerp-based": [{"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp-based artists to contribute to the project."}], "tapes": [{"id": "27", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "27", "sentence": "I had hundreds of cassette tapes, mostly TDK."}], "Francisco": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "sure": [{"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it's own."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}], "rap": [{"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}], "writings": [{"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "27", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}], "sounding": [{"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "DOB": [{"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job designing the packaging."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB Records."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "Noordt": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "were": [{"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "04", "sentence": "These books were the starting point for curating the event, which subsequently sat within our 'Pushing Scores' project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "DE PLAYER: Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Kris Delacourt: There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "They were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "11", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "18", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}, {"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}, {"id": "23", "sentence": "Before God needed to be invented there were man."}, {"id": "24", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "27", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "30", "sentence": "They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}, {"id": "31", "sentence": "Good food and drinks were served."}], "dots": [{"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "The office material, those colourful little dots."}, {"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}], "pulses": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}], "Afterwards": [{"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}], "rises": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}], "your": [{"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "DE PLAYER: The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: As your first 'real' album, as a statement?"}, {"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "technology": [{"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it's use as a technology within her work."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology and national security."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}], "marvelling": [{"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}], "compiling": [{"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}], "ARTKILLART": [{"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART x JUBILEE event in 2017."}, {"id": "10", "sentence": "The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}], "categories": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}], "seventh": [{"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "A seventh note, 'si' or 'ti', was added later."}], "civilisation": [{"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}], "September": [{"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "anymore": [{"id": "27", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}], "stages": [{"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages throughout its history: 1."}], "player": [{"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "perhaps": [{"id": "06", "sentence": "Or perhaps you would perceive it as a failure if it weren't enjoyable without the concept?"}, {"id": "27", "sentence": "It just turned out that way, perhaps because that's how we generally tend to structure material."}], "mental": [{"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}], "beam": [{"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "Within": [{"id": "04", "sentence": "Within it, he develops the reciprocity of music and architecture, and of sound and image."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}], "Thirteen": [{"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Metrostation Maashaven."}], "during": [{"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "22", "sentence": "Instead of using traditional musical scores during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}, {"id": "30", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}], "guests": [{"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}], "Or": [{"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Or as a collage record?"}, {"id": "06", "sentence": "Or perhaps you would perceive it as a failure if it weren't enjoyable without the concept?"}], "frequency": [{"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}, {"id": "27", "sentence": "Different types of stone give different frequency readings."}], "Did": [{"id": "06", "sentence": "Did I mention I tend to overthink things?"}], "Ping": [{"id": "24", "sentence": "The Ping Pong Song)' by Enrique Iglesias 'Doing It Right' by The Go!"}], "clever": [{"id": "06", "sentence": "Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts."}], "web-based": [{"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "29", "sentence": "Varia has developed a context and technical environment as a web-based archival publication."}], "books": [{"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "04", "sentence": "They are cheap dummy books, onto which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "04", "sentence": "These books were the starting point for curating the event, which subsequently sat within our 'Pushing Scores' project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}], "jumpcuts": [{"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}], "Calm": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "coal": [{"id": "27", "sentence": "I did the same with coal."}, {"id": "27", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "27", "sentence": "She still stores coal there in a small outhouse (called 'kullbingen')."}, {"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}], "Apologize": [{"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}], "electricity": [{"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "1999": [{"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}], "Can": [{"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "affirming": [{"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "taking": [{"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}], "Stemra": [{"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}], "Siobhan": [{"id": "24", "sentence": "Team 'Don't' by Elvis Presley With The Jordanaires 'Don't Dance' by Midas 'Don't Give It Up' by Siobhan Donaghy"}], "time": [{"id": "02", "sentence": "This is a magazine without any format, with the intention for a new one to be developed each time."}, {"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}, {"id": "05", "sentence": "We have known Vaast Colson to be an interesting artist for quite some time already."}, {"id": "06", "sentence": "He was intrigued by the invitation, but it took a long time to develop."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}, {"id": "06", "sentence": "It really was a one-time event, with the vinyls functioning as a tool, yes."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}, {"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}, {"id": "10", "sentence": "Vuksic considers the time and space of computer processing and memory as levels of reality."}, {"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "At the time of writing it would have been quite prophetic."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "19", "sentence": "The performance 'frikativ' is real-time generated visual and sound poetry."}, {"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}, {"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "27", "sentence": "The composition follows a more or less linear path, starting with 'deep' time."}, {"id": "27", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "27", "sentence": "It doesn't relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "27", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "The composition follows a more or less linear path – starting with deep time."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "So much time is compressed in this material and it's burned up in minutes."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}, {"id": "27", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "Foo": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "invisible": [{"id": "26", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}], "engaging": [{"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "composition": [{"id": "01", "sentence": "The 'E-ARTHHA' event is about the search for new interfaces and possibilities for sound composition, image and performance."}, {"id": "07", "sentence": "To complete the event we searched for two completely different approaches to composition."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "11", "sentence": "For this multi-vocal composition, Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "20", "sentence": "Inspiration comes in the form of vocal poetry, 'poésie sonore' and text-sound composition."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "24", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}, {"id": "24", "sentence": "This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "27", "sentence": "The composition follows a more or less linear path, starting with 'deep' time."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "Currently, Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "27", "sentence": "The composition follows a more or less linear path – starting with deep time."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}, {"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "STEIM": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "pushing": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}], "regarding": [{"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}], "team": [{"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}], "marking": [{"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}], "opposite": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}], "eleventh": [{"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "In the eleventh century, Guido van Arezo introduced the staff with four lines (this is still in use)."}], "together": [{"id": "02", "sentence": "All these scores then had to come together in one magazine/object."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "Sometimes I preferred elements because of harmonic information, notes that work well together, sometimes because of rhythms that worked well, etc."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "Yet these alternate approaches brought us together and made 'Pushing Scores' real."}, {"id": "19", "sentence": "Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}, {"id": "27", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "Rafaël": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "RAFAËL ROZENDAAL (NL) Rafaël Rozendaal is a visual artist who uses the Internet as his canvas."}, {"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "stage": [{"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Because of this ambiguity, we are interested in what this stage of music could represent."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}], "explained": [{"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}], "frakativ": [{"id": "19", "sentence": "For example, his work 'frakativ' is an electronic visual sound poetry performance."}], "stands": [{"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}], "Helsinki": [{"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "Republic": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}, {"id": "27", "sentence": "Both in active mines and in the abandoned mines and buildings surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "27", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}], "Erik": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "muted": [{"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}], "mode": [{"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}], "remixes": [{"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}], "Gates": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Technology": [{"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}], "den": [{"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}], "17:00": [{"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}], "wrong": [{"id": "27", "sentence": "Sometimes this can go horribly wrong."}], "An": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "11", "sentence": "An interactive graphic score/light box/kinetic work fixed inside the cabinet, and 2."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "11", "sentence": "An interactive graphic score/light box/kinetic work fixed inside the cabinet, and 2."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}], "performer": [{"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}], "spinning": [{"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}], "host": [{"id": "10", "sentence": "Varia will host the evening, and explain their ideas and approach to developing the archive."}], "met": [{"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "28", "sentence": "When we met we had discussions about several professional subjects and decided to realise a publication."}], "Zwart": [{"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}], "inserting": [{"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}], "literally": [{"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}], "Strings": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "really": [{"id": "06", "sentence": "Pretty nonsensical in a way, but it produced a really beautiful, and quite fragile, result."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts."}, {"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "Shit like that, really great stuff."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "DE PLAYER: Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Kris Delacourt: Not really, at least not in this case."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "It really was a one-time event, with the vinyls functioning as a tool, yes."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}, {"id": "27", "sentence": "It is a vast scar in the landscape, and really an incredible place."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "These questions are really haunting me ."}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}], "Trans-acoustic": [{"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}], "Lopez": [{"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}], "impossible": [{"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "Wolfsberger": [{"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}], "anticipate": [{"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}], "Douglas": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}, {"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "running": [{"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "relations": [{"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "27", "sentence": "In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it ."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "Graphic": [{"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}], "plastic": [{"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}], "Jakobson": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it's use as a technology within her work."}, {"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}], "Even": [{"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}], "address": [{"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}], "Only": [{"id": "27", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}], "20": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "16", "sentence": "Derek Holzer was invited for the event 'PUSHING' on 20 Jan 2017."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "operate": [{"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "29", "sentence": "It is based in Rotterdam in the same area that we operate in."}], "happy": [{"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}], "interference": [{"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}], "Kim": [{"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Greatest": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}], "magnets": [{"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, which determines the rhythm."}], "library": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "Architecture": [{"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}], "continuous": [{"id": "05", "sentence": "What emotions and ethical choices guide an artist in a process of continuous change?"}], "job": [{"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job designing the packaging."}, {"id": "06", "sentence": "DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job."}], "famous": [{"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}], "technologies": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "10", "sentence": "By writing choreographies for software and computer elements, she utilises these technologies as actors in software/noise pieces for, and in, computers."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}], "edge": [{"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}], "scary": [{"id": "27", "sentence": "That is quite scary."}], "18": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "deliberately": [{"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}], "got": [{"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "31", "sentence": "We got in touch with Marco Fusinato through our '8-INCH' series."}], "stuck": [{"id": "24", "sentence": "The system was therefore completely stuck."}], "my": [{"id": "06", "sentence": "Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "26", "sentence": "When the webs are harvested, my hand affects their original form."}, {"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}, {"id": "27", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "27", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "27", "sentence": "I'm always processing and refining my field recordings."}], "Forever": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "ago": [{"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "27", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}], "visited": [{"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}, {"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "27", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}], "psycho-acoustic": [{"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}], "absence": [{"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}], "think": [{"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Kris Delacourt: Oh, I think it's definitely something that's still evolving."}, {"id": "06", "sentence": "So I don’t think I've quite finished with it, no."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it's own."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "So I don't think I belong in the conceptual art section."}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "06", "sentence": "I don't think of it as a manifesto or anything."}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}, {"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}, {"id": "23", "sentence": "I think silence has that same relation with music."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "27", "sentence": "It's absurd when you start to think about it."}], "Choir": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "Reich": [{"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}], "e-flux": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "facing": [{"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}], "Henry": [{"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}, {"id": "27", "sentence": "The musique concrète, as developed by Henry at GRM, was made by magnetic tape."}], "Explorer": [{"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "doors": [{"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}], "Sculptress": [{"id": "07", "sentence": "She is part of the sound art collective Sculptress of Sound."}], "Political": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}], "living": [{"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}], "handcraft": [{"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}], "interrogating": [{"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}], "stand-alone": [{"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}], "YANN": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}], "collaborating": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}], "19:00": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}], "sequencing": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "inspirations": [{"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}], "more": [{"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB Records."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I could have gone for something more 'correct' in terms of concept – I don't know, pure sine waves or something."}, {"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "So more drone, definitely."}, {"id": "07", "sentence": "Julia Bünnagel was also invited, under the guise of contributing a more physical input."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (of one or more people)."}, {"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "The composition follows a more or less linear path, starting with 'deep' time."}, {"id": "27", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "27", "sentence": "The composition follows a more or less linear path – starting with deep time."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "Gym": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "Cars": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "doing": [{"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "DE PLAYER: Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "But Vaast, for instance, refuses to regard it as his doing."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}, {"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}], "sided": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "rockets": [{"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "Queens": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "interior": [{"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}], "transmutation": [{"id": "27", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}], "Department": [{"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}], "Director": [{"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "points": [{"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}], "hearing": [{"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}], "Product": [{"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}, {"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}, {"id": "24", "sentence": "Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "24", "sentence": "Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}], "cantorum": [{"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "11", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "18", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}], "Back/Transylvania": [{"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}], "AND": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}], "noisette": [{"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}], "phase": [{"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "tell": [{"id": "27", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}], "accessible": [{"id": "05", "sentence": "It is a complex work that nevertheless manages to remain simple and accessible in its final execution."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "Spreeuwenberg": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "HOLZER": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}], "Buchla": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "16", "sentence": "In the early 1960s, the composer Morton Subotnik employed engineer Don Buchla to help him create 'the music of the future'."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}], "09:00": [{"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}], "comprised": [{"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}, {"id": "06", "sentence": "Colson made two booklets in the 'Principium' series – comprised of reproductions of each used sticker sheet and the result."}], "2000": [{"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}], "virtual": [{"id": "20", "sentence": "The analogue and virtual voice play a major role in this."}], "Pistols": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "superiority": [{"id": "26", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}], "labour": [{"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}], "initiative": [{"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}], "traditional": [{"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "21", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "Instead of using traditional musical scores during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}], "Nico": [{"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}], "surrounds": [{"id": "27", "sentence": "What is the relationship between the sounds of mining and the community that surrounds them?"}], "label": [{"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "10", "sentence": "The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}], "body": [{"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}], "sewing": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}], "uniform": [{"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}], "sets": [{"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "exercise": [{"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}], "completely": [{"id": "07", "sentence": "To complete the event we searched for two completely different approaches to composition."}, {"id": "14", "sentence": "It completely complimented our thinking around how to imagine the concept of composing and making scores."}, {"id": "24", "sentence": "The system was therefore completely stuck."}], "arts": [{"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "fact": [{"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "30", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}], "reminded": [{"id": "27", "sentence": "It's good for the human psyche to be reminded of that."}], "popular": [{"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}], "Zen": [{"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}], "billions": [{"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}], "shuffled": [{"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}], "GUEDES": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}], "Russia": [{"id": "27", "sentence": "Both in active mines and in the abandoned mines and buildings surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}], "forty": [{"id": "04", "sentence": "His websites attract a large audience of over forty million unique visits per year."}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}], "Nov": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "modified": [{"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "As mentioned, the first version was a modified Casio keyboard."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Julia's solo live performances primarily refer to the modified vinyl records that produce extraordinary sounds."}, {"id": "11", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "18", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}], "Anne-Mie": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "sessions": [{"id": "06", "sentence": "Kris Delacourt: You do it in short sessions, hah."}], "displays": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "dancers": [{"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}], "Call": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "radiation": [{"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}], "dissonance": [{"id": "13", "sentence": "He sees it as punk, experimental, noise, investigative and critical, searching for dissonance and ordering of information, for rhythm and tonality."}], "earth": [{"id": "27", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}], "Sunshine": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Daniel": [{"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}], "guy": [{"id": "06", "sentence": "Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts."}], "Phenomena": [{"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "Bringing": [{"id": "06", "sentence": "DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job."}], "expected": [{"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}], "phrase": [{"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}], "Tata": [{"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "tone": [{"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}], "important": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "20", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "20", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "20", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}, {"id": "20", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "27", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "27", "sentence": "It is important for companies to manage this."}], "distribution": [{"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}], "hidden": [{"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "I'm very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "optical/sculptural": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}], "drawing": [{"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "05", "sentence": "The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself."}, {"id": "05", "sentence": "The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}], "regeneration": [{"id": "27", "sentence": "That's why I wanted to have a thread about the regeneration of mining areas."}], "reciprocal": [{"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}], "however": [{"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}], "emotional": [{"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}], "documentary": [{"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}], "Party": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "grandmother": [{"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}], "geophones": [{"id": "27", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}], "Naturalis": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "covers": [{"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "bauxite": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Transit": [{"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "noted": [{"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}], "Do-Re-Mi": [{"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}], "demonstration": [{"id": "07", "sentence": "On this evening, 'Resonanz' will be the starting point for a Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "For this evening event, 'Resonanz' will be the starting point of Q&A, demonstration and live presentation."}, {"id": "29", "sentence": "His presentation was a crossover between a lecture and a demonstration."}], "22": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}], "assessment": [{"id": "05", "sentence": "The commercial potential and its associated value assessment are problematic for Colson."}], "Huellkurven": [{"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}], "decades": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}], "almost": [{"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "22", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "25", "sentence": "Because she uses and records the archive, the end result almost turns out to be a DJ set."}], "crossover": [{"id": "29", "sentence": "His presentation was a crossover between a lecture and a demonstration."}], "Pasvik": [{"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}], "listened": [{"id": "06", "sentence": "Were there people who actually listened to the whole eight-hour performance?"}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}], "Delft": [{"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}], "changing": [{"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}, {"id": "27", "sentence": "The Arctic is changing quickly."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}], "affects": [{"id": "26", "sentence": "When the webs are harvested, my hand affects their original form."}, {"id": "27", "sentence": "In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it ."}], "delicate": [{"id": "22", "sentence": "It results in very delicate and unconventional chamber music."}], "8-INCH": [{"id": "31", "sentence": "We got in touch with Marco Fusinato through our '8-INCH' series."}], "practitioner": [{"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}], "copy": [{"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "05", "sentence": "The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded."}, {"id": "05", "sentence": "The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself."}], "plants": [{"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}], "venue": [{"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "Chili": [{"id": "24", "sentence": "Shena 'Dark Road' by Annie Lennox 'Delivery' by Babyshambles 'Desecration Smile' by Red Hot Chili Peppers 'Destination Calabria' by Alex Gaudino feat."}], "soil": [{"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}], "article": [{"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}], "light-sensitive": [{"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}], "keeps": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}], "bridge": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}], "JUSTIN": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "JUSTIN BENNETT (UK) Justin Bennett is an artist working with sound and visual media."}], "sizes": [{"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}], "with": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "01", "sentence": "Later on, this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "02", "sentence": "This is a magazine without any format, with the intention for a new one to be developed each time."}, {"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "Every aspect of his work deals with the quality of sound."}, {"id": "04", "sentence": "These works deal with continuity and endless accessibility."}, {"id": "04", "sentence": "For this event he will work with a film projection and a synthesizer, which he influences with his brainwaves."}, {"id": "04", "sentence": "JUSTIN BENNETT (UK) Justin Bennett is an artist working with sound and visual media."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}, {"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}, {"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "Principium 2.0' is then another piece in step with the principle of Colson's original 'Principium'."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "This is an interview with Kris Delacourt (Remörk) on his practice and the 'Principium' story."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "06", "sentence": "In this way you would end up with all different records, each one an original."}, {"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to Morse code."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "And since I'm a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "So I don’t think I've quite finished with it, no."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB Records."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "It really was a one-time event, with the vinyls functioning as a tool, yes."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process as navigating its actualisation."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "On the live oscilloscope concert Holzer states, 'The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "07", "sentence": "All had worked with the medium of the vinyl record and added a new use/application."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (of one or more people)."}, {"id": "09", "sentence": "As another example, Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}, {"id": "10", "sentence": "Her score was made on the spot with programming language; a sort of live coding."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "11", "sentence": "For this multi-vocal composition, Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "11", "sentence": "In the eleventh century, Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "The entire 'Pushing Scores' project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}, {"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}, {"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "18", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "21", "sentence": "Fersteinn works with the method of so-called 'animation'."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson has been part of DE PLAYER's programme with his quartet Fersteinn several times."}, {"id": "22", "sentence": "This Icelandic quartet plays with little analogue instruments and animation scores Gunnarsson made on his computer."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}, {"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}, {"id": "22", "sentence": "We also produced a limited polyurethane record with Fersteinn."}, {"id": "22", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "I think silence has that same relation with music."}, {"id": "23", "sentence": "Emptiness has that same relation with notation."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}, {"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}, {"id": "24", "sentence": "His way of composing has a multimedia conceptual approach, which is mostly linked with processes in society."}, {"id": "24", "sentence": "Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "25", "sentence": "She works with sound, video, installation and performance."}, {"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}, {"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}, {"id": "26", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}, {"id": "26", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "He also expanded his archive with all related logistic processes."}, {"id": "27", "sentence": "The composition follows a more or less linear path, starting with 'deep' time."}, {"id": "27", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "27", "sentence": "Benny Nilsen approached us with his project 'ORE'."}, {"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}, {"id": "27", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "27", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "27", "sentence": "I did the same with coal."}, {"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "27", "sentence": "The composition follows a more or less linear path – starting with deep time."}, {"id": "27", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "You can only survive there if you work with nature."}, {"id": "27", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "28", "sentence": "Duncan also often works with Carl Michael Hausswolff, who is an expert in EVP."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}, {"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "30", "sentence": "They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}, {"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "31", "sentence": "We got in touch with Marco Fusinato through our '8-INCH' series."}, {"id": "31", "sentence": "For this we published 8\" records with artists and labels."}, {"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}, {"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}, {"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "confrontational": [{"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}], "individual": [{"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "Roberto": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "so-called": [{"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called 'telephone adapters'."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "21", "sentence": "Fersteinn works with the method of so-called 'animation'."}], "GesammttkkunnsttMeshuggahhLaandtttt": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}], "help": [{"id": "16", "sentence": "In the early 1960s, the composer Morton Subotnik employed engineer Don Buchla to help him create 'the music of the future'."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}], "Editors": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "invited": [{"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp-based artists to contribute to the project."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "Julia Bünnagel was also invited, under the guise of contributing a more physical input."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "16", "sentence": "Derek Holzer was invited for the event 'PUSHING' on 20 Jan 2017."}, {"id": "19", "sentence": "For 'Pushing Scores', we invited him to make special work for a limited edition."}, {"id": "27", "sentence": "For this event, Kahn did some kind of improvisation session on the works of the three invited artists."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}], "rigorous": [{"id": "15", "sentence": "Holzer often works through a long, rigorous process of self-education in electronics."}], "know": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I could have gone for something more 'correct' in terms of concept – I don't know, pure sine waves or something."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "I don't know."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}], "Quite": [{"id": "06", "sentence": "Quite the contrary, actually."}], "readable": [{"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}], "then": [{"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "02", "sentence": "All these scores then had to come together in one magazine/object."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "He then reassembled these line segments into new shapes and new lines."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "Principium 2.0' is then another piece in step with the principle of Colson's original 'Principium'."}, {"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Kris Delacourt: If you force me to choose between those two, then drone."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "20", "sentence": "In a multicultural situation, abstract sounds are forms of recognition; then there is, for example, music."}, {"id": "21", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "27", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "ways": [{"id": "01", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}, {"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "04", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "20", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "25", "sentence": "Ana Guedes' project 'UNTITLED RECORDS' fits into our idea of finding new ways to compose very seamlessly."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}], "teetered": [{"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "gone": [{"id": "06", "sentence": "I could have gone for something more 'correct' in terms of concept – I don't know, pure sine waves or something."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages throughout its history: 1."}], "Annie": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Shena 'Dark Road' by Annie Lennox 'Delivery' by Babyshambles 'Desecration Smile' by Red Hot Chili Peppers 'Destination Calabria' by Alex Gaudino feat."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Shena 'Dark Road' by Annie Lennox 'Delivery' by Babyshambles 'Desecration Smile' by Red Hot Chili Peppers 'Destination Calabria' by Alex Gaudino feat."}], "based": [{"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp-based artists to contribute to the project."}, {"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "07", "sentence": "— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "10", "sentence": "VALENTINA VUKSIC (CH/NL) Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer based in Amsterdam."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "17", "sentence": "He is inspiring for a lot of performance-based composers."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "29", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}, {"id": "29", "sentence": "It is based in Rotterdam in the same area that we operate in."}, {"id": "29", "sentence": "Varia has developed a context and technical environment as a web-based archival publication."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "generates": [{"id": "19", "sentence": "For this he developed specific software that generates poetry in spoken-word form."}], "down": [{"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "08", "sentence": "We decided to envision the framework for the installation as a three-dimensional staff to write down music."}, {"id": "11", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "18", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "27", "sentence": "Far down in the Earth the rock is actually moving."}, {"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}], "even": [{"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in the number twelve even, and there's the appeal of building instruments too."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}], "agree": [{"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}], "1982": [{"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}], "field": [{"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "05", "sentence": "He opens up the artistic field to explore what is happening in the art world."}, {"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "27", "sentence": "I'm always processing and refining my field recordings."}, {"id": "28", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}], "liberating": [{"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}], "Billiam": [{"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}], "say": [{"id": "02", "sentence": "Some dare to say that it’s a kind of jukebox."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}], "animations": [{"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "21", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}], "visible": [{"id": "09", "sentence": "Transmitted through a beamer and an audio system, everything becomes visible and audible."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "26", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}], "birth": [{"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}], "INFORMATIVE": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}], "periods": [{"id": "27", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}], "finding": [{"id": "25", "sentence": "Ana Guedes' project 'UNTITLED RECORDS' fits into our idea of finding new ways to compose very seamlessly."}, {"id": "26", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}], "unrelated": [{"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "contemplation": [{"id": "25", "sentence": "Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation."}], "remarkable": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}], "lathe": [{"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}], "HITS'": [], "Kreidler": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "24", "sentence": "Johannes Kreidler is a special case when it comes to composing."}, {"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "24", "sentence": "According to Kreidler, the action, entitled 'Fremdarbeit', is intended to focus attention on the themes of exploitation and authorship."}, {"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}, {"id": "24", "sentence": "Johannes Kreidler is a composer and concept and media artist."}], "ride": [{"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}], "OF": [{"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}, {"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}], "slambanken": [{"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "27", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "27", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}], "096": [{"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "system": [{"id": "09", "sentence": "Transmitted through a beamer and an audio system, everything becomes visible and audible."}, {"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "24", "sentence": "The system was therefore completely stuck."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}, {"id": "31", "sentence": "A huge public announcement system was in the office blazing loud, but very articulated sound."}], "Though": [{"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "Lithium": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "periphery": [{"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}], "Cathode": [{"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}], "Arachne": [{"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "26", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "26", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}], "decorative": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "repetition": [{"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}], "transmission": [{"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}], "punched": [{"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "Sun": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}], "matrix": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}], "ever-changing": [{"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}], "those": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "06", "sentence": "The office material, those colourful little dots."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "Kris Delacourt: If you force me to choose between those two, then drone."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}, {"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "27", "sentence": "In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it ."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "Hopi": [{"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}], "Night": [{"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}], "uninhabitable": [{"id": "27", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}], "Nevertheless": [{"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}], "geological": [{"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}], "Steve": [{"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}], "ephemeral": [{"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "26", "sentence": "The sonification of spider webs asserts a reverence for the environment, the beauty of the ephemeral and loss."}], "enjoyable": [{"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or perhaps you would perceive it as a failure if it weren't enjoyable without the concept?"}, {"id": "06", "sentence": "Kris Delacourt: I certainly do hope that it's enjoyable."}], "done": [{"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}], "Bleed": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "chosen": [{"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "Charlemagne": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}], "height": [{"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}], "Do": [{"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "DE PLAYER: Do you see this as a drone record?"}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "DE PLAYER: Do you see this as a drone record?"}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}, {"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}, {"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}, {"id": "24", "sentence": "by Band Aid 'Do Without My Love' by Nathan [UK] 'Do You Know?"}, {"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}, {"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}, {"id": "24", "sentence": "by Band Aid 'Do Without My Love' by Nathan [UK] 'Do You Know?"}], "regard": [{"id": "06", "sentence": "But Vaast, for instance, refuses to regard it as his doing."}, {"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}], "mapped": [{"id": "27", "sentence": "When it was empty, I mapped out the building by recording it."}], "audio-visual": [{"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}], "defined": [{"id": "07", "sentence": "The usual code of the record, as defined by the music industry, was broken in all works."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}], "collection": [{"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}, {"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}], "transporting": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}], "quipped": [{"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}], "built-in": [{"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}], "pauses": [{"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "blending": [{"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}], "extra": [{"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}, {"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}], "Zürich": [{"id": "10", "sentence": "VALENTINA VUKSIC (CH/NL) Valentina Vuksic is a computer artist and programmer based in Zürich."}], "depends": [{"id": "27", "sentence": "In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it ."}], "partners": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}], "flawed": [{"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}], "vehicles": [{"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "Blue": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "wrote": [{"id": "06", "sentence": "And since I'm a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}], "BE": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "FLORIS VANHOOF (BE) Floris Vanhoof is a filmmaker and musician from Belgium."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}], "our": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "We proposed to the students that they devise an issue of our publication Tetra Gamma Circulaire."}, {"id": "02", "sentence": "We worked around the ideas present in our 'Pushing Scores' project."}, {"id": "04", "sentence": "At every level of detail, the everyday sound of our urban surroundings is the focus of his work."}, {"id": "04", "sentence": "These books were the starting point for curating the event, which subsequently sat within our 'Pushing Scores' project."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "05", "sentence": "Colson's works examine core questions: What power does art have to change us and our society?"}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "It was a good concert and her way of working fit into our ideas of exploring graphic scores very well."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "14", "sentence": "It completely complimented our thinking around how to imagine the concept of composing and making scores."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}, {"id": "25", "sentence": "Ana Guedes' project 'UNTITLED RECORDS' fits into our idea of finding new ways to compose very seamlessly."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "28", "sentence": "John Duncan took part in our event on 5 Oct 2018."}, {"id": "31", "sentence": "We got in touch with Marco Fusinato through our '8-INCH' series."}], "gravity": [{"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "lapidary": [{"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}], "dystopias": [{"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}], "give": [{"id": "06", "sentence": "As mentioned, this is the short version, can you give me the full story?"}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "27", "sentence": "It's not like wind or the sun, which give you immediate energy."}, {"id": "27", "sentence": "Different types of stone give different frequency readings."}], "short-lived": [{"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}], "participatory": [{"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}], "Different": [{"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}, {"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}, {"id": "27", "sentence": "Different types of stone give different frequency readings."}, {"id": "27", "sentence": "Different types of stone give different frequency readings."}], "Piksel": [{"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}], "tutor": [{"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}], "influences": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}, {"id": "04", "sentence": "For this event he will work with a film projection and a synthesizer, which he influences with his brainwaves."}], "colourful": [{"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "The office material, those colourful little dots."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}], "unfortunately": [{"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}], "capacities": [{"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}], "Time": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Una": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "Some": [{"id": "02", "sentence": "Some dare to say that it’s a kind of jukebox."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "27", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}], "spines": [{"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}], "gives": [{"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "27", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}], "MgO": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "piano": [{"id": "09", "sentence": "JOHANNES BERGMARK (SE) Johannes Bergmark is a Fylkingen-affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "event": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "The 'E-ARTHHA' event is about the search for new interfaces and possibilities for sound composition, image and performance."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "04", "sentence": "It’s not a matter of an event between spectators and a musician– it’s a space to submit to a process."}, {"id": "04", "sentence": "For this event he will work with a film projection and a synthesizer, which he influences with his brainwaves."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "04", "sentence": "These books were the starting point for curating the event, which subsequently sat within our 'Pushing Scores' project."}, {"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "It really was a one-time event, with the vinyls functioning as a tool, yes."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "For this evening event, 'Resonanz' will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "07", "sentence": "To complete the event we searched for two completely different approaches to composition."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART x JUBILEE event in 2017."}, {"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}, {"id": "16", "sentence": "Derek Holzer was invited for the event 'PUSHING' on 20 Jan 2017."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}, {"id": "27", "sentence": "For this event, Kahn did some kind of improvisation session on the works of the three invited artists."}, {"id": "28", "sentence": "John Duncan took part in our event on 5 Oct 2018."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}, {"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "vectors": [{"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}], "Bocelli": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "thing": [{"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, which determines the rhythm."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "Kris Delacourt: There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "Kris Delacourt: I do look at it as a solo thing."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}], "Minnesota": [{"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}], "Tinna": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "formula": [{"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}], "organisation": [{"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "medium": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "07", "sentence": "All had worked with the medium of the vinyl record and added a new use/application."}, {"id": "09", "sentence": "However, it was decided to start from the floppy disc as a medium."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "27", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "27", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "28", "sentence": "The medium of radio still plays a role in arriving at compositions."}], "marginalised": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}], "MacDiarmid": [{"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}], "Chain": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "spread": [{"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}], "I": [{"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": ", that I went in that direction."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts."}, {"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "06", "sentence": "Yet I felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "And since I'm a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, which determines the rhythm."}, {"id": "06", "sentence": "I followed that score for eight hours straight."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Kris Delacourt: Oh, I think it's definitely something that's still evolving."}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "So I don’t think I've quite finished with it, no."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB Records."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Sometimes I preferred elements because of harmonic information, notes that work well together, sometimes because of rhythms that worked well, etc."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it's own."}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "06", "sentence": "I could have gone for something more 'correct' in terms of concept – I don't know, pure sine waves or something."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "Kris Delacourt: I do look at it as a solo thing."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "And I follow that."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "So I don't think I belong in the conceptual art section."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "I don't know."}, {"id": "06", "sentence": "I don't think of it as a manifesto or anything."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}, {"id": "06", "sentence": "I don't feel this record has that."}, {"id": "06", "sentence": "Kris Delacourt: I certainly do hope that it's enjoyable."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "06", "sentence": "I guess I am aiming for the best of both worlds there."}, {"id": "07", "sentence": "Resonanz' is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "Until I tried it."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "23", "sentence": "I think silence has that same relation with music."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "27", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "27", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "27", "sentence": "I did the same with coal."}, {"id": "27", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "27", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "I'm very interested in the hidden layers and history the landscape."}, {"id": "27", "sentence": "That's why I wanted to have a thread about the regeneration of mining areas."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "27", "sentence": "I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "27", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "27", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "27", "sentence": "I had hundreds of cassette tapes, mostly TDK."}, {"id": "27", "sentence": "I'm always processing and refining my field recordings."}, {"id": "27", "sentence": "I apply filters, use electronics."}], "recognition": [{"id": "20", "sentence": "In a multicultural situation, abstract sounds are forms of recognition; then there is, for example, music."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}], "Internet": [{"id": "04", "sentence": "RAFAËL ROZENDAAL (NL) Rafaël Rozendaal is a visual artist who uses the Internet as his canvas."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}], "temporal": [{"id": "10", "sentence": "Software being processed creates its own temporal and spatial dimensions, which are staged for a public."}], "in/output": [{"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}], "Ayas": [{"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}], "propose": [{"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}], "around": [{"id": "02", "sentence": "We worked around the ideas present in our 'Pushing Scores' project."}, {"id": "02", "sentence": "Each student had to develop their own project around the process of making a score."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}, {"id": "14", "sentence": "It completely complimented our thinking around how to imagine the concept of composing and making scores."}, {"id": "20", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}, {"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}, {"id": "27", "sentence": "This was part of a test production of around 30,000 tons."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "cuts": [{"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}], "chronology": [{"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}], "CONCRETE": [{"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}], "she": [{"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "By writing choreographies for software and computer elements, she utilises these technologies as actors in software/noise pieces for, and in, computers."}, {"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}, {"id": "25", "sentence": "Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation."}, {"id": "25", "sentence": "Because she uses and records the archive, the end result almost turns out to be a DJ set."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "26", "sentence": "She presented her project entitled 'Arachnes Sonifier', in which she captures and makes audible spider webs."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}], "bound": [{"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}], "exceeded": [{"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}], "Boy": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "ruled": [{"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}], "Maciunas": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}], "usually": [{"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "21", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "24", "sentence": "He usually uses multimedia elements."}], "affective": [{"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}], "incorporated": [{"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}], "contain": [{"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}], "Minogue": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "either": [{"id": "06", "sentence": "And that was never the question either."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}], "enlarged": [{"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}], "drive": [{"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}], "matching": [{"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "Peter brought six record players, matching the six colours of the vinyl nicely – two notes each."}], "legal": [{"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}], "Now": [{"id": "06", "sentence": "Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "voiced": [{"id": "01", "sentence": "The work is voiced by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "The piece is voiced by Laetitia Saedier of Stereolab."}], "tribute": [{"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}], "closer": [{"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}], "interdisciplinary": [{"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}], "winter": [{"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}], "technical": [{"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "29", "sentence": "Varia has developed a context and technical environment as a web-based archival publication."}], "Agenda": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "material": [{"id": "06", "sentence": "The office material, those colourful little dots."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "27", "sentence": "It just turned out that way, perhaps because that's how we generally tend to structure material."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "So much time is compressed in this material and it's burned up in minutes."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "27", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "trillion": [{"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}], "Anarchy": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Abuses": [{"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}], "reinterpretations": [{"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}], "did": [{"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job designing the packaging."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}, {"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}, {"id": "27", "sentence": "For this event, Kahn did some kind of improvisation session on the works of the three invited artists."}, {"id": "27", "sentence": "I did the same with coal."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "27", "sentence": "Why did people in the past settle in an environment like this?"}], "teachers": [{"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "areas": [{"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "27", "sentence": "Both in active mines and in the abandoned mines and buildings surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "27", "sentence": "That's why I wanted to have a thread about the regeneration of mining areas."}, {"id": "27", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}], "Thu": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}], "Barkley": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "blue": [{"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}], "SynthFont": [{"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "evenings": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}], "People": [{"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "30", "sentence": "People who make black MIDIs are known as 'blackers'."}, {"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}], "problematic": [{"id": "05", "sentence": "The commercial potential and its associated value assessment are problematic for Colson."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "become": [{"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}, {"id": "20", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "22", "sentence": "In that way, the most irregular things can become very intelligible."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}], "appeal": [{"id": "06", "sentence": "There’s something appealing in the number twelve even, and there's the appeal of building instruments too."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}], "near": [{"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "singers": [{"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}], "illustration": [{"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}], "interconnections": [{"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}], "Enemy": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}], "axiomatic": [{"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}], "does": [{"id": "05", "sentence": "Colson's works examine core questions: What power does art have to change us and our society?"}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "27", "sentence": "Where does mining stop?"}, {"id": "27", "sentence": "How much influence does it have on a community?"}], "imagination": [{"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}], "manifest": [{"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}], "INT": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "steps": [{"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}], "spontaneous": [{"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}], "letting": [{"id": "06", "sentence": "Art is letting things go, let it flow."}, {"id": "06", "sentence": "That's just another way of letting things go, of giving up control."}], "sticky": [{"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}], "Balloons": [{"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}], "black": [{"id": "30", "sentence": "People who make black MIDIs are known as 'blackers'."}, {"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}, {"id": "30", "sentence": "People who make black MIDIs are known as 'blackers'."}, {"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}, {"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}, {"id": "30", "sentence": "The end titles of many black MIDI videos display how many notes are in the piece."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}, {"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}, {"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}, {"id": "30", "sentence": "The end titles of many black MIDI videos display how many notes are in the piece."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}, {"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "From this perspective, his live performances can also be considered as black mass implosions."}, {"id": "31", "sentence": "From this perspective, his live performances can also be considered as black mass implosions."}], "million": [{"id": "04", "sentence": "His websites attract a large audience of over forty million unique visits per year."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}], "bad": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}], "15": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}], "quite": [{"id": "05", "sentence": "We have known Vaast Colson to be an interesting artist for quite some time already."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "Pretty nonsensical in a way, but it produced a really beautiful, and quite fragile, result."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "So I don’t think I've quite finished with it, no."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "That's quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "12", "sentence": "At the time of writing it would have been quite prophetic."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "27", "sentence": "That is quite scary."}, {"id": "27", "sentence": "In practice it's quite mathematical, but it still it is part of the sound world too."}], "Shoulder": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Tektronix": [{"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}], "movements": [{"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "11", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "18", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}], "Poly-diso": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}], "pass": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}], "reinterpretation": [{"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}], "Tempest": [{"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "Christmas": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}], "Through": [{"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "25", "sentence": "Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation."}, {"id": "27", "sentence": "Through soundwaves geologists are able to map what is underground."}], "huge": [{"id": "27", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "31", "sentence": "A huge public announcement system was in the office blazing loud, but very articulated sound."}], "PARA-PHONIC": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}], "engine": [{"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}], "Klangwerkstatt": [{"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}], "submit": [{"id": "04", "sentence": "It’s not a matter of an event between spectators and a musician– it’s a space to submit to a process."}], "pictures": [{"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}], "vocalising": [{"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}], "atmosphere": [{"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}], "traditions": [{"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "26", "sentence": "Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}], "desired": [{"id": "27", "sentence": "All to get to the desired result: The gold!"}], "Vos": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "spoken-word": [{"id": "19", "sentence": "For this he developed specific software that generates poetry in spoken-word form."}], "sticking": [{"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}], "southwestern": [{"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "efficiency": [{"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}], "believed": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "forth": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}], "certain": [{"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}, {"id": "27", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}], "hip": [{"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}], "Tokyo": [{"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "Arezzo": [{"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}], "accounts": [{"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "fraction": [{"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}], "closely": [{"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}, {"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}], "Pliny": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "hold": [{"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}], "mutually": [{"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}], "performative": [{"id": "05", "sentence": "This print run is to be seen as a performative action."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}], "implosion": [{"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}], "barely": [{"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}], "appointment": [{"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}], "interview": [{"id": "06", "sentence": "This is an interview with Kris Delacourt (Remörk) on his practice and the 'Principium' story."}, {"id": "06", "sentence": "The interview was conducted after he exhibited 'Principium 2.0' in an installation setting at Stadslimiet, Antwerp."}, {"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}], "printing": [{"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "29", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}], "turn": [{"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}, {"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}], "worker": [{"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "refined": [{"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}], "Kylie": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "cut-up": [{"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}], "Brieselaan": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}], "viewed": [{"id": "24", "sentence": "This makes it particularly interesting when viewed from the perspective of experimentation and unorthodox composing."}], "TETRA": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}], "won": [{"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}], "Borrow": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Fergie": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "every": [{"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "04", "sentence": "At every level of detail, the everyday sound of our urban surroundings is the focus of his work."}, {"id": "05", "sentence": "The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}], "This": [{"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "01", "sentence": "This continues to question the representation of sound in media to this day."}, {"id": "01", "sentence": "This continues to question the representation of sound in media to this day."}, {"id": "02", "sentence": "This is a magazine without any format, with the intention for a new one to be developed each time."}, {"id": "02", "sentence": "This was put in place to both limit possibilities and to unite the format."}, {"id": "02", "sentence": "This is a magazine without any format, with the intention for a new one to be developed each time."}, {"id": "02", "sentence": "This was put in place to both limit possibilities and to unite the format."}, {"id": "05", "sentence": "This can be a performance, an object, a book or whatever other form he settles on."}, {"id": "05", "sentence": "This print run is to be seen as a performative action."}, {"id": "05", "sentence": "This can be a performance, an object, a book or whatever other form he settles on."}, {"id": "05", "sentence": "This print run is to be seen as a performative action."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "This resulted in 'Principium 2.0'."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "This resulted in 'Principium 2.0'."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "This is an interview with Kris Delacourt (Remörk) on his practice and the 'Principium' story."}, {"id": "06", "sentence": "This is an interview with Kris Delacourt (Remörk) on his practice and the 'Principium' story."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "13", "sentence": "This encompasses the conceptualisation, the funding and the execution."}, {"id": "13", "sentence": "This encompasses the conceptualisation, the funding and the execution."}, {"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "15", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "15", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}, {"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}, {"id": "21", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "21", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "21", "sentence": "This means animated notation."}, {"id": "21", "sentence": "This means animated notation."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "22", "sentence": "This technique of composing is performed by Guðmundur Steinn Gunnarsson and his quartet Fersteinn."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "22", "sentence": "This technique of composing is performed by Guðmundur Steinn Gunnarsson and his quartet Fersteinn."}, {"id": "22", "sentence": "This Icelandic quartet plays with little analogue instruments and animation scores Gunnarsson made on his computer."}, {"id": "22", "sentence": "This Icelandic quartet plays with little analogue instruments and animation scores Gunnarsson made on his computer."}, {"id": "22", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "22", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}, {"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}, {"id": "24", "sentence": "This makes it particularly interesting when viewed from the perspective of experimentation and unorthodox composing."}, {"id": "24", "sentence": "This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "24", "sentence": "This makes it particularly interesting when viewed from the perspective of experimentation and unorthodox composing."}, {"id": "24", "sentence": "This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "25", "sentence": "This 'other way' to come to sound is an interesting phenomenon."}, {"id": "25", "sentence": "This 'other way' to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}, {"id": "27", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}, {"id": "27", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "This was part of a test production of around 30,000 tons."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "This was part of a test production of around 30,000 tons."}, {"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "30", "sentence": "This not only counts for publishing but also for exploring new possibilities for artist practice in general."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "This one is a pretty contemporary example and results in great imagery and sound."}, {"id": "30", "sentence": "This not only counts for publishing but also for exploring new possibilities for artist practice in general."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "This one is a pretty contemporary example and results in great imagery and sound."}, {"id": "31", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "31", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}, {"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}], "Make": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "lines": [{"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "He then reassembled these line segments into new shapes and new lines."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "Line segments which he reassembled into new shapes and new lines."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century, Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "22", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "Easy": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Are": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Dress": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Air": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Burning": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "modular": [{"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}], "Away": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}], "converting": [{"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}], "speculatively": [{"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}], "After": [{"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}], "spilling": [{"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}], "entity": [{"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}], "ANTWERP": [{"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}], "Body": [{"id": "24", "sentence": "Patrick Stump 'Curvy Cola Bottle Body' by Chico 'D.A.N.C.E."}], "soundscapes": [{"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}], "Affect": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "Tantalum": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "driving": [{"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}], "Hoof": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}], "Ray": [{"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}], "eight": [{"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "I followed that score for eight hours straight."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "Were there people who actually listened to the whole eight-hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}, {"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}], "been": [{"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Interestingly, he thought his resulting collages would be nice to use as scores – and they probably would have been."}, {"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "Kris Delacourt: The 10\" records have all been sold as well, so they sit somewhere in the middle."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "12", "sentence": "At the time of writing it would have been quite prophetic."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson has been part of DE PLAYER's programme with his quartet Fersteinn several times."}, {"id": "22", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "27", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}], "Inspiration": [{"id": "20", "sentence": "Inspiration comes in the form of vocal poetry, 'poésie sonore' and text-sound composition."}], "initial": [{"id": "06", "sentence": "At least, that's where the initial form and the name came from."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}], "bodies": [{"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}], "FR": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}], "equivalent": [{"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "reside": [{"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}], "de": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}], "shoot": [{"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "Brothers": [{"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}], "control": [{"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, which determines the rhythm."}, {"id": "06", "sentence": "That's just another way of letting things go, of giving up control."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "language": [{"id": "10", "sentence": "Her score was made on the spot with programming language; a sort of live coding."}, {"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "20", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "20", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "23", "sentence": "Before language there was the song."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "self-education": [{"id": "15", "sentence": "Holzer often works through a long, rigorous process of self-education in electronics."}], "quote": [{"id": "06", "sentence": "And how would you relate this quote to your LP?"}], "edition": [{"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "19", "sentence": "For 'Pushing Scores', we invited him to make special work for a limited edition."}, {"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}], "Books": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "CAN": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "titles": [{"id": "30", "sentence": "The end titles of many black MIDI videos display how many notes are in the piece."}], "Its": [{"id": "27", "sentence": "Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34."}], "mi": [{"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}], "why": [{"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}, {"id": "27", "sentence": "That's why I wanted to have a thread about the regeneration of mining areas."}, {"id": "27", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}], "Arsenale": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "cheironomy": [{"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}], "AT": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}], "communicate": [{"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "20", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}], "back": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}], "Up": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "Team 'Don't' by Elvis Presley With The Jordanaires 'Don't Dance' by Midas 'Don't Give It Up' by Siobhan Donaghy"}], "anxieties": [{"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}], "partly": [{"id": "31", "sentence": "This creates strong graphic works and partly blackens out the original score."}], "beats": [{"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}], "Blood": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Kunsthal": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "powerful": [{"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}], "Ore": [{"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}], "harshness": [{"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}], "medieval": [{"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}], "Transmitted": [{"id": "09", "sentence": "Transmitted through a beamer and an audio system, everything becomes visible and audible."}], "we": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp-based artists to contribute to the project."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "01", "sentence": "Later on, this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to Morse code."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "07", "sentence": "To complete the event we searched for two completely different approaches to composition."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "12", "sentence": "Because of this ambiguity, we are interested in what this stage of music could represent."}, {"id": "19", "sentence": "For 'Pushing Scores', we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "23", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}, {"id": "24", "sentence": "Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}, {"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}, {"id": "27", "sentence": "It just turned out that way, perhaps because that's how we generally tend to structure material."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "27", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "27", "sentence": "What shifts will we see?"}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "When we met we had discussions about several professional subjects and decided to realise a publication."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "29", "sentence": "It is based in Rotterdam in the same area that we operate in."}, {"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "For this we published 8\" records with artists and labels."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}], "used": [{"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Colson made two booklets in the 'Principium' series – comprised of reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to Morse code."}, {"id": "07", "sentence": "In the case of the 'prepared record', the record or musical piece is not used as a reproductive technique."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "20", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}, {"id": "22", "sentence": "He also used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}, {"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "display": [{"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}, {"id": "30", "sentence": "The end titles of many black MIDI videos display how many notes are in the piece."}], "deskilled": [{"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "Tielemans": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "sum": [{"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}], "embodied": [{"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "9–11": [{"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}], "compiled": [{"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}], "peculiar": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}], "Montgermont": [{"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}], "Andrea": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "Adrian": [{"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "antisocial": [{"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}], "non-verbal": [{"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}], "countries": [{"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}], "Fylkingen-affiliated": [{"id": "09", "sentence": "JOHANNES BERGMARK (SE) Johannes Bergmark is a Fylkingen-affiliated sound artist, instrument builder and piano technician."}], "overwritable": [{"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}], "quietest": [{"id": "21", "sentence": "Fersteinn usually performs in the quietest of settings."}], "Bart": [{"id": "23", "sentence": "Before the song there was the yodel,' As Bart Plantenga stated in his reading on yodeling."}], "killed": [{"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}], "software/noise": [{"id": "10", "sentence": "By writing choreographies for software and computer elements, she utilises these technologies as actors in software/noise pieces for, and in, computers."}], "Without": [{"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "by Band Aid 'Do Without My Love' by Nathan [UK] 'Do You Know?"}, {"id": "27", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics."}], "basis": [{"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "talk": [{"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "27", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}], "effects": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}], "usual": [{"id": "07", "sentence": "The usual code of the record, as defined by the music industry, was broken in all works."}, {"id": "20", "sentence": "It is important here that the language is sung off the usual value of speech."}], "Musical": [{"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}], "format": [{"id": "02", "sentence": "This is a magazine without any format, with the intention for a new one to be developed each time."}, {"id": "02", "sentence": "This was put in place to both limit possibilities and to unite the format."}, {"id": "06", "sentence": "DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}], "David": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}, {"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}], "inventive": [{"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}], "styles": [{"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "widest": [{"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}], "Lasha": [{"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}], "use": [{"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "Interestingly, he thought his resulting collages would be nice to use as scores – and they probably would have been."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "07", "sentence": "All had worked with the medium of the vinyl record and added a new use/application."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it's use as a technology within her work."}, {"id": "11", "sentence": "In the eleventh century, Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "27", "sentence": "I apply filters, use electronics."}, {"id": "28", "sentence": "Since the beginning of his practice, he has made extensive use of recorded sound."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "auditive": [{"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}], "darkened": [{"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}], "choreographies": [{"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "By writing choreographies for software and computer elements, she utilises these technologies as actors in software/noise pieces for, and in, computers."}], "magnetic": [{"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called 'telephone adapters'."}, {"id": "27", "sentence": "The musique concrète, as developed by Henry at GRM, was made by magnetic tape."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}], "essay": [{"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}], "expanded": [{"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "27", "sentence": "He also expanded his archive with all related logistic processes."}], "discourse": [{"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}], "While": [{"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}], "richer": [{"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}], "Serduchka": [{"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}], "implementation": [{"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}], "days": [{"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}], "held": [{"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}], "Ingólfsson": [{"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "WITH": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}], "hours": [{"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}, {"id": "06", "sentence": "I followed that score for eight hours straight."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}], "Breathless": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "box": [{"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "11", "sentence": "An interactive graphic score/light box/kinetic work fixed inside the cabinet, and 2."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}], "incentive": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}], "acts": [{"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}], "1967": [{"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}], "Media": [{"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "point": [{"id": "04", "sentence": "These books were the starting point for curating the event, which subsequently sat within our 'Pushing Scores' project."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "07", "sentence": "On this evening, 'Resonanz' will be the starting point for a Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "For this evening event, 'Resonanz' will be the starting point of Q&A, demonstration and live presentation."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "25", "sentence": "Her archival approach and its political and personal implications are the starting point of this work."}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}, {"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}, {"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}], "Communication": [{"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}], "popularity": [{"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}], "Oct": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "28", "sentence": "John Duncan took part in our event on 5 Oct 2018."}], "latinLit": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "parts": [{"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "11", "sentence": "The work consists of two parts: 1."}], "majority": [{"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "19": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}], "War": [{"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "Bowtie": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp-based artists to contribute to the project."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "1500–1900": [{"id": "12", "sentence": "It refers to the era of printed music (1500–1900)."}], "Albert-Ludwigs-Universität": [{"id": "24", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}], "bunch": [{"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}], "painstakingly": [{"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}], "act": [{"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}], "60s": [{"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}], "methods": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}], "Will": [{"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}, {"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}, {"id": "27", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}], "punk": [{"id": "13", "sentence": "He sees it as punk, experimental, noise, investigative and critical, searching for dissonance and ordering of information, for rhythm and tonality."}], "Ending": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Snow": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "cybernetics": [{"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}], "execute": [{"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}], "wall": [{"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "boom": [{"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}], "Player": [{"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "meets": [{"id": "02", "sentence": "‘Fred Flintstone meets the twenty-first century’, it was referred to as."}], "most-known": [{"id": "31", "sentence": "One of Marco's most-known projects is called 'Black Mass Implosion'."}], "4": [{"id": "12", "sentence": "Repeating, 4."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Jordanaires": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Team 'Don't' by Elvis Presley With The Jordanaires 'Don't Dance' by Midas 'Don't Give It Up' by Siobhan Donaghy"}], "sun": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "27", "sentence": "It's not like wind or the sun, which give you immediate energy."}], "sylvite": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Davis": [{"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "spodumene": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "clear": [{"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}], "lecture": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}, {"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}, {"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}, {"id": "29", "sentence": "His presentation was a crossover between a lecture and a demonstration."}], "until": [{"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "Vasulka": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "Sydvaranger": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}], "kill": [{"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "If you work against it, it will kill you."}], "lure": [{"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}], "performers": [{"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}], "cheap": [{"id": "04", "sentence": "They are cheap dummy books, onto which he poured ink in several colors."}], "researcher": [{"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}], "Palestine": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}], "Signification": [{"id": "20", "sentence": "Signification also plays a major role in this."}], "random": [{"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "And since I'm a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}], "waste": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "One is the waste you make to get to the ore."}, {"id": "27", "sentence": "If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "27", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}], "colour": [{"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}], "0.15mm": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "corresponded": [{"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}], "unfold": [{"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}], "provide": [{"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}], "twenty-five": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}], "1970s": [{"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}], "courses": [{"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}], "playable": [{"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}], "springs": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "Nathan": [{"id": "24", "sentence": "by Band Aid 'Do Without My Love' by Nathan [UK] 'Do You Know?"}], "operating": [{"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}], "randomly": [{"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "otherwise": [{"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}], "CA": [{"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}], "undermined": [{"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "larger": [{"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}], "drop": [{"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}], "PUSHING": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "16", "sentence": "Derek Holzer was invited for the event 'PUSHING' on 20 Jan 2017."}], "Marco": [{"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "We got in touch with Marco Fusinato through our '8-INCH' series."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}, {"id": "31", "sentence": "One of Marco's most-known projects is called 'Black Mass Implosion'."}, {"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "grey": [{"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}], "source": [{"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}], "headphones": [{"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}], "vocation": [{"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}], "Hiele": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}], "concepts": [{"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "preserved": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "relay": [{"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}], "compression": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "loss": [{"id": "26", "sentence": "The sonification of spider webs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}], "evoking": [{"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}], "framed": [{"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "saying": [{"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}], "involvement": [{"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}], "mystique": [{"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}], "sticker": [{"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "Colson made two booklets in the 'Principium' series – comprised of reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "It's an iron board and it has the same visuals as the sticker sheets."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}], "anitation": [{"id": "21", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "The idea of 'anitation' and the work of Guðmundur Steinn Gunnarsson fits perfectly within 'Pushing Scores'."}], "lie": [{"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}], "truly": [{"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}], "Pay2Print": [{"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}], "bastnäsite": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Durante": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "signed": [{"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "operational": [{"id": "27", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}], "J": [{"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}], "Directorate": [{"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}], "Katie": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "fifty": [{"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}, {"id": "27", "sentence": "If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste."}], "tape": [{"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}, {"id": "27", "sentence": "The musique concrète, as developed by Henry at GRM, was made by magnetic tape."}, {"id": "27", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "27", "sentence": "Magnetic tape was the medium of my youth."}], "comet": [{"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}], "Figures": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "sell": [{"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}], "populated": [{"id": "27", "sentence": "The landscape is fairly untouched, it is scarcely populated, it's desolate."}], "intended": [{"id": "06", "sentence": "They were intended as a release, and therefore a product, just as well."}, {"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "24", "sentence": "According to Kreidler, the action, entitled 'Fremdarbeit', is intended to focus attention on the themes of exploitation and authorship."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "aids": [{"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}], "bullet": [{"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "joint": [{"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}], "intervention": [{"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "James": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "somehow": [{"id": "27", "sentence": "It is a process that somehow relates to my own artistic process."}], "Contributors": [{"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}], "bullets": [{"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "Go": [{"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}, {"id": "24", "sentence": "The Ping Pong Song)' by Enrique Iglesias 'Doing It Right' by The Go!"}], "fixed": [{"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "11", "sentence": "An interactive graphic score/light box/kinetic work fixed inside the cabinet, and 2."}], "Sugar": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "institutions": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "guise": [{"id": "07", "sentence": "Julia Bünnagel was also invited, under the guise of contributing a more physical input."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "witnesses": [{"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "Junior": [{"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}], "missiles": [{"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "Artez": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "available": [{"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}], "local": [{"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}], "websites": [{"id": "04", "sentence": "His websites attract a large audience of over forty million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "His studio work focuses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "His studio focuses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}], "qualities": [{"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "necessary": [{"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}], "performance-based": [{"id": "17", "sentence": "He is inspiring for a lot of performance-based composers."}], "mortals": [{"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "seismic": [{"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "27", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}], "intuition": [{"id": "09", "sentence": "Jakobson has great reverence for intuition and it's use as a technology within her work."}], "scale": [{"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}], "Grinder": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "they": [{"id": "02", "sentence": "We proposed to the students that they devise an issue of our publication Tetra Gamma Circulaire."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "06", "sentence": "Interestingly, he thought his resulting collages would be nice to use as scores – and they probably would have been."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Kris Delacourt: The 10\" records have all been sold as well, so they sit somewhere in the middle."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "27", "sentence": "Were they forced up North by circumstances?"}, {"id": "27", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "foil": [{"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}], "filmmaking": [{"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}], "especially": [{"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "27", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}], "reveal": [{"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}], "limit": [{"id": "02", "sentence": "This was put in place to both limit possibilities and to unite the format."}], "demonstrating": [{"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}], "something": [{"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to Morse code."}, {"id": "06", "sentence": "So the C note runs for tens minutes and the B note is something like five minutes and twenty seconds."}, {"id": "06", "sentence": "Kris Delacourt: Oh, I think it's definitely something that's still evolving."}, {"id": "06", "sentence": "There's something appealing in using a single octave as a building block."}, {"id": "06", "sentence": "There’s something appealing in the number twelve even, and there's the appeal of building instruments too."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "06", "sentence": "If something was interesting for a while, but didn't stay interesting, it had to go."}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "06", "sentence": "I could have gone for something more 'correct' in terms of concept – I don't know, pure sine waves or something."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "23", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "27", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}], "Haan": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "thousands": [{"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}], "Bischoff": [{"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "Whole": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Light": [{"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}], "OTHERS": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}], "launched": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}], "shortly": [{"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}], "thought": [{"id": "06", "sentence": "Interestingly, he thought his resulting collages would be nice to use as scores – and they probably would have been."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "26", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}], "book": [{"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "04", "sentence": "He is also an art book publisher (Onomatopee, Eindhoven, and WdW Review, Rotterdam)."}, {"id": "04", "sentence": "His studio work focuses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "05", "sentence": "This can be a performance, an object, a book or whatever other form he settles on."}, {"id": "07", "sentence": "TELCOSYSTEMS (NL) Telcosystems presents 'Resonanz', an electronic book combining a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "With 'Resonanz', Telcosystems presents an electronic book that combines a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Resonanz' is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}, {"id": "13", "sentence": "His studio focuses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "predictable": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}], "sine": [{"id": "06", "sentence": "I could have gone for something more 'correct' in terms of concept – I don't know, pure sine waves or something."}], "greater": [{"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}], "Lieshout": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "due": [{"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}], "reading": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}, {"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}, {"id": "23", "sentence": "Before the song there was the yodel,' As Bart Plantenga stated in his reading on yodeling."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "27", "sentence": "Listening underground is like reading the environment."}], "logistically": [{"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}], "shift": [{"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}], "teach": [{"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}], "27": [{"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}], "energy": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology and national security."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology and national security."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}, {"id": "27", "sentence": "It's not like wind or the sun, which give you immediate energy."}, {"id": "27", "sentence": "It's not like wind or the sun, which give you immediate energy."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "Travis": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Never": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "synth": [{"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}], "PT": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "rhythms": [{"id": "06", "sentence": "Sometimes I preferred elements because of harmonic information, notes that work well together, sometimes because of rhythms that worked well, etc."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}], "receiving": [{"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}], "valid": [{"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}], "knowledge": [{"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}], "instrumental": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}], "manifesto": [{"id": "06", "sentence": "I don't think of it as a manifesto or anything."}], "Resonanz": [{"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "TELCOSYSTEMS (NL) Telcosystems presents 'Resonanz', an electronic book combining a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "On this evening, 'Resonanz' will be the starting point for a Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "With 'Resonanz', Telcosystems presents an electronic book that combines a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "For this evening event, 'Resonanz' will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "Resonanz' is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}], "previously": [{"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}], "Otherwise": [{"id": "06", "sentence": "Otherwise you're not an artist."}], "strange": [{"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}], "phones": [{"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}], "Bünnagel": [{"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne."}, {"id": "07", "sentence": "Julia Bünnagel was also invited, under the guise of contributing a more physical input."}], "editions": [{"id": "05", "sentence": "The making of editions can be understood in this context."}], "indicate": [{"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}], "them": [{"id": "01", "sentence": "Just so you can see them day and night, for roughly three weeks long."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "26", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "What is the relationship between the sounds of mining and the community that surrounds them?"}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}, {"id": "27", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "27", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them ."}, {"id": "27", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "nature": [{"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "09", "sentence": "As another example, Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "27", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "You can only survive there if you work with nature."}, {"id": "27", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them ."}, {"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}], "drinks": [{"id": "31", "sentence": "Good food and drinks were served."}], "sol": [{"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}], "JoJo": [{"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}], "They": [{"id": "04", "sentence": "They are intensified visual and audio perceptions in a specific space."}, {"id": "04", "sentence": "They are cheap dummy books, onto which he poured ink in several colors."}, {"id": "06", "sentence": "They were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "They're just new pieces in their own right."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}, {"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}, {"id": "26", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "27", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "30", "sentence": "They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}], "eventually": [{"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}], "analogous": [{"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}], "wove": [{"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}, {"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "model": [{"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}], "PU": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}], "earlier": [{"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}], "investigated": [{"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}], "ahead": [{"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}], "Theodore": [{"id": "27", "sentence": "Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34."}], "Amy": [{"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}], "softwares": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}], "x": [{"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART x JUBILEE event in 2017."}], "archive": [{"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will host the evening, and explain their ideas and approach to developing the archive."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "25", "sentence": "Because she uses and records the archive, the end result almost turns out to be a DJ set."}, {"id": "27", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "27", "sentence": "He also expanded his archive with all related logistic processes."}, {"id": "29", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "phi0978.phi001.perseus-eng1:33.1": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "surrealist": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "BBC": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "initiatives": [{"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}, {"id": "08", "sentence": "The initiatives gather within a part of the programme called 'Intersections'."}], "travelled": [{"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}], "possibilities": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The 'E-ARTHHA' event is about the search for new interfaces and possibilities for sound composition, image and performance."}, {"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "02", "sentence": "This was put in place to both limit possibilities and to unite the format."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "27", "sentence": "Currently, Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "30", "sentence": "This not only counts for publishing but also for exploring new possibilities for artist practice in general."}], "multiple": [{"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}], "including": [{"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "24", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "Aside": [{"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}], "hop": [{"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}], "splicing": [{"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}], "Alvin": [{"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "transport": [{"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}], "scales": [{"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}], "2.9": [{"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}], "Linkin": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "hacked": [{"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}], "enables": [{"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}], "involving": [{"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "Reinhold": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Anonymous": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "imagined": [{"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}], "hear": [{"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}, {"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "27", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}], "Aalto": [{"id": "13", "sentence": "He designed the publication and identity of the 'Aalto Natives' at the Finnish Pavilion of the 57th Venice Biennale."}], "through": [{"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "05", "sentence": "The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "Kris Delacourt: There were some people there that sat through the whole thing, yes."}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "Transmitted through a beamer and an audio system, everything becomes visible and audible."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages throughout its history: 1."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "15", "sentence": "Holzer often works through a long, rigorous process of self-education in electronics."}, {"id": "19", "sentence": "Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Cultural identity is therefore communicated through this."}, {"id": "20", "sentence": "Subcultures form through music."}, {"id": "24", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}, {"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "27", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "31", "sentence": "We got in touch with Marco Fusinato through our '8-INCH' series."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "refusing": [{"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "Lee": [{"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}], "Kimmy": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "Xerox": [{"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}], "resources": [{"id": "27", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "27", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}], "musically": [{"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}], "enjoy": [{"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}], "generated": [{"id": "19", "sentence": "The performance 'frikativ' is real-time generated visual and sound poetry."}, {"id": "19", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}], "Listening": [{"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "27", "sentence": "Listening underground is like reading the environment."}], "Rowan": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "encounter": [{"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}], "copy-zine": [{"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}], "catastrophic": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "privately": [{"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}], "Mal": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Tudor": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}], "sterile": [{"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}], "Sweden": [{"id": "27", "sentence": "Both in active mines and in the abandoned mines and buildings surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}], "faster": [{"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}], "Karaoke": [{"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "Shins": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}], "hand-drawn": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}], "which": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "02", "sentence": "The result is a combination of several media, which all coexist in a designed concrete object."}, {"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}, {"id": "04", "sentence": "For this event he will work with a film projection and a synthesizer, which he influences with his brainwaves."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "04", "sentence": "They are cheap dummy books, onto which he poured ink in several colors."}, {"id": "04", "sentence": "These books were the starting point for curating the event, which subsequently sat within our 'Pushing Scores' project."}, {"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}, {"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}, {"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "05", "sentence": "The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}, {"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "06", "sentence": "Together, all twelve records form the complete set, which one 'game' requires."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "Line segments which he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, which determines the rhythm."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "Software being processed creates its own temporal and spatial dimensions, which are staged for a public."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "12", "sentence": "It was particularly of interested to us because of the way in which he focuses on the reproduction of music."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "20", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}, {"id": "24", "sentence": "His way of composing has a multimedia conceptual approach, which is mostly linked with processes in society."}, {"id": "24", "sentence": "Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "26", "sentence": "She presented her project entitled 'Arachnes Sonifier', in which she captures and makes audible spider webs."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "It's not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}, {"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}], "Seeley": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "compensation": [{"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}], "collaborates": [{"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}], "Recording": [{"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}], "concerned": [{"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}], "classical": [{"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}], "Cage": [{"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "13", "sentence": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}], "editing": [{"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}], "rang": [{"id": "06", "sentence": "It just rang as very poetic to me."}], "settles": [{"id": "05", "sentence": "This can be a performance, an object, a book or whatever other form he settles on."}], "middle": [{"id": "06", "sentence": "Kris Delacourt: The 10\" records have all been sold as well, so they sit somewhere in the middle."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}], "drawn": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "27", "sentence": "I am drawn to the Arctic as a sound person because of its relative remoteness."}], "circumstances": [{"id": "27", "sentence": "Were they forced up North by circumstances?"}], "striking": [{"id": "27", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "27", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}], "University": [{"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}, {"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}, {"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "27", "sentence": "Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34."}, {"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "is": [{"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "The work is voiced by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The 'E-ARTHHA' event is about the search for new interfaces and possibilities for sound composition, image and performance."}, {"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "So what is the current state of the graphic score?"}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "TGC#3 is a particular kind of publishing platform engineered for sonic experiments, instruments and installations."}, {"id": "02", "sentence": "This is a magazine without any format, with the intention for a new one to be developed each time."}, {"id": "02", "sentence": "The result is a combination of several media, which all coexist in a designed concrete object."}, {"id": "02", "sentence": "It has a Raspberry Pi sits at its core, and is programmed for several applications."}, {"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}, {"id": "04", "sentence": "RAFAËL ROZENDAAL (NL) Rafaël Rozendaal is a visual artist who uses the Internet as his canvas."}, {"id": "04", "sentence": "FLORIS VANHOOF (BE) Floris Vanhoof is a filmmaker and musician from Belgium."}, {"id": "04", "sentence": "JUSTIN BENNETT (UK) Justin Bennett is an artist working with sound and visual media."}, {"id": "04", "sentence": "At every level of detail, the everyday sound of our urban surroundings is the focus of his work."}, {"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is also an art book publisher (Onomatopee, Eindhoven, and WdW Review, Rotterdam)."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "05", "sentence": "The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "05", "sentence": "This print run is to be seen as a performative action."}, {"id": "05", "sentence": "It is a complex work that nevertheless manages to remain simple and accessible in its final execution."}, {"id": "05", "sentence": "He opens up the artistic field to explore what is happening in the art world."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "Principium 2.0' is then another piece in step with the principle of Colson's original 'Principium'."}, {"id": "06", "sentence": "This is an interview with Kris Delacourt (Remörk) on his practice and the 'Principium' story."}, {"id": "06", "sentence": "As mentioned, this is the short version, can you give me the full story?"}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts."}, {"id": "06", "sentence": "So the C note runs for tens minutes and the B note is something like five minutes and twenty seconds."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it's own."}, {"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "06", "sentence": "Art is letting things go, let it flow."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "Resonanz' is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne."}, {"id": "07", "sentence": "She is part of the sound art collective Sculptress of Sound."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "07", "sentence": "In the case of the 'prepared record', the record or musical piece is not used as a reproductive technique."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}, {"id": "09", "sentence": "JOHANNES BERGMARK (SE) Johannes Bergmark is a Fylkingen-affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpart to his own musical input."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}, {"id": "10", "sentence": "VALENTINA VUKSIC (CH/NL) Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The piece is voiced by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century, Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}, {"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "He calls this chapter 'Represent' because it is the project of the executive."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer based in Amsterdam."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He is inspiring for a lot of performance-based composers."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "18", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called 'cheironmy'."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "19", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "19", "sentence": "For example, his work 'frakativ' is an electronic visual sound poetry performance."}, {"id": "19", "sentence": "The performance 'frikativ' is real-time generated visual and sound poetry."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "19", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "20", "sentence": "In a multicultural situation, abstract sounds are forms of recognition; then there is, for example, music."}, {"id": "20", "sentence": "Cultural identity is therefore communicated through this."}, {"id": "20", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "20", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "20", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}, {"id": "20", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "21", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "22", "sentence": "Anitation' is the term for animated notation."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "22", "sentence": "This technique of composing is performed by Guðmundur Steinn Gunnarsson and his quartet Fersteinn."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "24", "sentence": "Johannes Kreidler is a special case when it comes to composing."}, {"id": "24", "sentence": "His work is described as conceptual music."}, {"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "24", "sentence": "According to Kreidler, the action, entitled 'Fremdarbeit', is intended to focus attention on the themes of exploitation and authorship."}, {"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}, {"id": "24", "sentence": "Johannes Kreidler is a composer and concept and media artist."}, {"id": "24", "sentence": "His way of composing has a multimedia conceptual approach, which is mostly linked with processes in society."}, {"id": "24", "sentence": "This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "Ana Guedes is a multidisciplinary artist from Portugal who lives and works in the Hague."}, {"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "25", "sentence": "This 'other way' to come to sound is an interesting phenomenon."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "26", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "27", "sentence": "What is the relationship between the sounds of mining and the community that surrounds them?"}, {"id": "27", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "27", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}, {"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}, {"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "27", "sentence": "Currently, Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "27", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "27", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "27", "sentence": "It is a vast scar in the landscape, and really an incredible place."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}, {"id": "27", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "27", "sentence": "One is the waste you make to get to the ore."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "27", "sentence": "It is important for companies to manage this."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "So much time is compressed in this material and it's burned up in minutes."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "27", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "27", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "27", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "27", "sentence": "The landscape is fairly untouched, it is scarcely populated, it's desolate."}, {"id": "27", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "27", "sentence": "The Arctic is changing quickly."}, {"id": "27", "sentence": "That is quite scary."}, {"id": "27", "sentence": "Far down in the Earth the rock is actually moving."}, {"id": "27", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "27", "sentence": "Listening underground is like reading the environment."}, {"id": "27", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "27", "sentence": "In practice it's quite mathematical, but it still it is part of the sound world too."}, {"id": "27", "sentence": "Through soundwaves geologists are able to map what is underground."}, {"id": "27", "sentence": "There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "27", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "27", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "28", "sentence": "Duncan also often works with Carl Michael Hausswolff, who is an expert in EVP."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}, {"id": "28", "sentence": "He is currently a sound designer at the Art Academy of Bologna, Italy."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}, {"id": "29", "sentence": "It is based in Rotterdam in the same area that we operate in."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "29", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}, {"id": "30", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "30", "sentence": "In that sense, there is never a perfect reproduction but always an interpretation."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}, {"id": "30", "sentence": "This one is a pretty contemporary example and results in great imagery and sound."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "31", "sentence": "Spectral Arrows' is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}, {"id": "31", "sentence": "One of Marco's most-known projects is called 'Black Mass Implosion'."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}], "muttering": [{"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}], "Academie": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "van": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For this multi-vocal composition, Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "In the eleventh century, Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "13", "sentence": "The entire 'Pushing Scores' project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer based in Amsterdam."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "13", "sentence": "Remco van Bladel grew up in the record store of his father."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}], "centred": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}], "Press": [{"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}, {"id": "27", "sentence": "Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34."}], "line": [{"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "He then reassembled these line segments into new shapes and new lines."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "11", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "18", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "27", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}], "promoting": [{"id": "10", "sentence": "The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}], "increased": [{"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}], "exploring": [{"id": "10", "sentence": "It was a good concert and her way of working fit into our ideas of exploring graphic scores very well."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "30", "sentence": "This not only counts for publishing but also for exploring new possibilities for artist practice in general."}], "iconic": [{"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}], "constantly": [{"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}], "discussing": [{"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}], "Noise": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}], "Andre": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "progression": [{"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}], "footage": [{"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}], "stochastic": [{"id": "29", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}], "downloadable": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}], "mechanised": [{"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}], "pieces": [{"id": "06", "sentence": "The final installation will have twelve separate pieces: A complete octave."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "They're just new pieces in their own right."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "10", "sentence": "By writing choreographies for software and computer elements, she utilises these technologies as actors in software/noise pieces for, and in, computers."}, {"id": "17", "sentence": "The 'Event Scores' of George Brecht are still actual pieces."}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}, {"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}, {"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "awareness": [{"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}], "petalite": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Sugababes": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Java": [{"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "GREATEST": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}], "south": [{"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}], "buildings": [{"id": "27", "sentence": "Both in active mines and in the abandoned mines and buildings surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "circuitry": [{"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}], "Huelkorven": [{"id": "19", "sentence": "He is also involved in the online poetry platform Huelkorven."}], "suggested": [{"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}], "surfaces": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}], "intermediary": [{"id": "18", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called 'cheironmy'."}], "operated": [{"id": "10", "sentence": "The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}], "Home": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "curated": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}], "instructions": [{"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "21", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "Instead of using traditional musical scores during the performance, the musicians follow specific instructions that move across a computer screen."}], "Catch": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Remco": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For this multi-vocal composition, Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "13", "sentence": "The entire 'Pushing Scores' project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer based in Amsterdam."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "13", "sentence": "Remco van Bladel grew up in the record store of his father."}], "tendencies": [{"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}], "RAFAËL": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "RAFAËL ROZENDAAL (NL) Rafaël Rozendaal is a visual artist who uses the Internet as his canvas."}], "temple": [{"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}], "Ball": [{"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}], "tool": [{"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "It really was a one-time event, with the vinyls functioning as a tool, yes."}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpart to his own musical input."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}], "Beginning": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "border": [{"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}], "but": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}, {"id": "06", "sentence": "He was intrigued by the invitation, but it took a long time to develop."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "Pretty nonsensical in a way, but it produced a really beautiful, and quite fragile, result."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "If something was interesting for a while, but didn't stay interesting, it had to go."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}, {"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}, {"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "It doesn't relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "27", "sentence": "It's not iron ore but lignite, 'braunkohle'."}, {"id": "27", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "27", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "27", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "27", "sentence": "In practice it's quite mathematical, but it still it is part of the sound world too."}, {"id": "30", "sentence": "This not only counts for publishing but also for exploring new possibilities for artist practice in general."}, {"id": "30", "sentence": "In that sense, there is never a perfect reproduction but always an interpretation."}, {"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "31", "sentence": "A huge public announcement system was in the office blazing loud, but very articulated sound."}], "situ": [{"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}], "IR2016": [{"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}], "Your": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "PINKIE": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}], "international": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}], "Stefani": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Þórðarsson": [{"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "believes": [{"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages throughout its history: 1."}], "Cowboy": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "Iannis": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "niobium": [{"id": "27", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics."}], "grow": [{"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}], "interaction": [{"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (of one or more people)."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "bouncing": [{"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}], "cutting": [{"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}], "Finnish": [{"id": "13", "sentence": "He designed the publication and identity of the 'Aalto Natives' at the Finnish Pavilion of the 57th Venice Biennale."}], "Los": [{"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}], "Pure": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "dirty": [{"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "15", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "15", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}], "Convocation": [{"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "hard": [{"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}, {"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "27", "sentence": "It is a base of hard rock under the water with different layers of material."}], "MIDIs": [{"id": "30", "sentence": "People who make black MIDIs are known as 'blackers'."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "aural": [{"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "understood": [{"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}], "0.03": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "activities": [{"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "27", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope."}], "Crank": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "Bøtcher": [{"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}], "media-technical": [{"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}], "Sugar/Axle": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Fighters": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "stick": [{"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}], "among": [{"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}], "guess": [{"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB Records."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "I guess I am aiming for the best of both worlds there."}], "compilation": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "manifesting": [{"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "accessibility": [{"id": "04", "sentence": "These works deal with continuity and endless accessibility."}], "evokes": [{"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}], "introduction": [{"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}], "German": [{"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "27", "sentence": "Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34."}, {"id": "27", "sentence": "Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34."}], "spits": [{"id": "27", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}], "surrounding": [{"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "27", "sentence": "Both in active mines and in the abandoned mines and buildings surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}], "this": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "01", "sentence": "Throughout 2016, 2017 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "01", "sentence": "Later on, this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media to this day."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "For this event he will work with a film projection and a synthesizer, which he influences with his brainwaves."}, {"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}, {"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "As mentioned, this is the short version, can you give me the full story?"}, {"id": "06", "sentence": "In this way you would end up with all different records, each one an original."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}, {"id": "06", "sentence": "DE PLAYER: Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "Kris Delacourt: Not really, at least not in this case."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "But it's still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "DE PLAYER: The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "DE PLAYER: Do you see this as a drone record?"}, {"id": "06", "sentence": "I don't feel this record has that."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "On this evening, 'Resonanz' will be the starting point for a Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "For this evening event, 'Resonanz' will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "11", "sentence": "For this multi-vocal composition, Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "In the eleventh century, Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "He calls this chapter 'Represent' because it is the project of the executive."}, {"id": "12", "sentence": "Because of this ambiguity, we are interested in what this stage of music could represent."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}, {"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "19", "sentence": "For this he developed specific software that generates poetry in spoken-word form."}, {"id": "20", "sentence": "Cultural identity is therefore communicated through this."}, {"id": "20", "sentence": "Signification also plays a major role in this."}, {"id": "20", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}, {"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "24", "sentence": "Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}, {"id": "25", "sentence": "Her archival approach and its political and personal implications are the starting point of this work."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "27", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "For this event, Kahn did some kind of improvisation session on the works of the three invited artists."}, {"id": "27", "sentence": "Sometimes this can go horribly wrong."}, {"id": "27", "sentence": "It is important for companies to manage this."}, {"id": "27", "sentence": "So much time is compressed in this material and it's burned up in minutes."}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}, {"id": "27", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}, {"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}, {"id": "31", "sentence": "For this we published 8\" records with artists and labels."}, {"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}, {"id": "31", "sentence": "From this perspective, his live performances can also be considered as black mass implosions."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "conflictual": [{"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}], "Why": [{"id": "06", "sentence": "Why was that?"}, {"id": "27", "sentence": "Why did people in the past settle in an environment like this?"}], "Dancing": [{"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}], "physics": [{"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology and national security."}], "folkoristic": [{"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}], "1993": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}], "importance": [{"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}], "unceremoniously": [{"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "Interestingly": [{"id": "06", "sentence": "Interestingly, he thought his resulting collages would be nice to use as scores – and they probably would have been."}], "normally": [{"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}], "Flute": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "artworks": [{"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}, {"id": "06", "sentence": "Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "07", "sentence": "TELCOSYSTEMS (NL) Telcosystems presents 'Resonanz', an electronic book combining a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "With 'Resonanz', Telcosystems presents an electronic book that combines a series of visual artworks and a sound publication."}], "LOCAL": [{"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}], "fairly": [{"id": "27", "sentence": "The landscape is fairly untouched, it is scarcely populated, it's desolate."}], "allowed": [{"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}], "Chill": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "aesthetic": [{"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "Sound": [{"id": "07", "sentence": "She is part of the sound art collective Sculptress of Sound."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}], "blanks": [{"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}], "products": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Fuller": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "Tiesto": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "draw": [{"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}], "controller": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}], "Matthieu": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "FLORIS": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "FLORIS VANHOOF (BE) Floris Vanhoof is a filmmaker and musician from Belgium."}], "artistic": [{"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "05", "sentence": "He opens up the artistic field to explore what is happening in the art world."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "13", "sentence": "It was an investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "27", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "consciousness": [{"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}], "web": [{"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}, {"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}, {"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}, {"id": "29", "sentence": "Varia has developed a context and technical environment as a web-based archival publication."}], "little…": [], "Academy": [{"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}, {"id": "28", "sentence": "He is currently a sound designer at the Art Academy of Bologna, Italy."}], "DE/NL": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "general": [{"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}, {"id": "30", "sentence": "This not only counts for publishing but also for exploring new possibilities for artist practice in general."}], "Steal": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "oscillate": [{"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}], "content": [{"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}], "Software": [{"id": "10", "sentence": "Software being processed creates its own temporal and spatial dimensions, which are staged for a public."}], "Hague": [{"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}, {"id": "25", "sentence": "Ana Guedes is a multidisciplinary artist from Portugal who lives and works in the Hague."}], "turntable": [{"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}], "80": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "fine-tuned": [{"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}], "Touhou": [{"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}], "extraordinary": [{"id": "07", "sentence": "Julia's solo live performances primarily refer to the modified vinyl records that produce extraordinary sounds."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "F": [{"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}], "Jul": [{"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}, {"id": "06", "sentence": "It was presented at Stadslimiet, Antwerp, as an installation piece on 2 Jul 2015."}], "authors": [{"id": "26", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}], "From": [{"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}, {"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}, {"id": "31", "sentence": "From this perspective, his live performances can also be considered as black mass implosions."}], "reciprocity": [{"id": "04", "sentence": "Within it, he develops the reciprocity of music and architecture, and of sound and image."}], "modifying": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}], "California-based": [{"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "e.g": [{"id": "20", "sentence": "Improper uses of consumer electronics (e.g."}, {"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}], "Song": [{"id": "24", "sentence": "The Ping Pong Song)' by Enrique Iglesias 'Doing It Right' by The Go!"}, {"id": "30", "sentence": "They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "where": [{"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "06", "sentence": "At least, that's where the initial form and the name came from."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, which determines the rhythm."}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "22", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "SE": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "JOHANNES BERGMARK (SE) Johannes Bergmark is a Fylkingen-affiliated sound artist, instrument builder and piano technician."}], "schools": [{"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}], "publish": [{"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}], "degree": [{"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}], "scheelite": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "mines": [{"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "27", "sentence": "Both in active mines and in the abandoned mines and buildings surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}], "adventurous": [{"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}], "timbres": [{"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}], "felt": [{"id": "06", "sentence": "Yet I felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "multidimensional": [{"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}], "playground": [{"id": "27", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}], "settle": [{"id": "27", "sentence": "Why did people in the past settle in an environment like this?"}], "indicated": [{"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}], "exemplifying": [{"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}], "Empty": [{"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}], "contribute": [{"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp-based artists to contribute to the project."}], "States": [{"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}], "hematite": [{"id": "27", "sentence": "We can see layers of hematite."}], "biotope": [{"id": "27", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope."}], "representatives": [{"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}], "SEQUENCER": [{"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}], "Pushing": [{"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "02", "sentence": "We worked around the ideas present in our 'Pushing Scores' project."}, {"id": "02", "sentence": "We worked around the ideas present in our 'Pushing Scores' project."}, {"id": "04", "sentence": "These books were the starting point for curating the event, which subsequently sat within our 'Pushing Scores' project."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "04", "sentence": "These books were the starting point for curating the event, which subsequently sat within our 'Pushing Scores' project."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "11", "sentence": "The invitation was perfectly suited for a project in public space that he had in mind for 'Pushing Scores'."}, {"id": "11", "sentence": "The invitation was perfectly suited for a project in public space that he had in mind for 'Pushing Scores'."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}, {"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}, {"id": "13", "sentence": "The entire 'Pushing Scores' project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "The entire 'Pushing Scores' project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "Yet these alternate approaches brought us together and made 'Pushing Scores' real."}, {"id": "13", "sentence": "Yet these alternate approaches brought us together and made 'Pushing Scores' real."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "19", "sentence": "For 'Pushing Scores', we invited him to make special work for a limited edition."}, {"id": "19", "sentence": "For 'Pushing Scores', we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}, {"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "22", "sentence": "The idea of 'anitation' and the work of Guðmundur Steinn Gunnarsson fits perfectly within 'Pushing Scores'."}, {"id": "22", "sentence": "The idea of 'anitation' and the work of Guðmundur Steinn Gunnarsson fits perfectly within 'Pushing Scores'."}, {"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}, {"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}, {"id": "29", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "29", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}], "Bear": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "water": [{"id": "27", "sentence": "It is a base of hard rock under the water with different layers of material."}], "several": [{"id": "02", "sentence": "The result is a combination of several media, which all coexist in a designed concrete object."}, {"id": "02", "sentence": "It has a Raspberry Pi sits at its core, and is programmed for several applications."}, {"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "04", "sentence": "They are cheap dummy books, onto which he poured ink in several colors."}, {"id": "05", "sentence": "The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson has been part of DE PLAYER's programme with his quartet Fersteinn several times."}, {"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}, {"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "28", "sentence": "When we met we had discussions about several professional subjects and decided to realise a publication."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "word": [{"id": "19", "sentence": "For this he developed specific software that generates poetry in spoken-word form."}, {"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}], "Musicales": [{"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}], "Navid": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "counsellor": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}], "2013": [{"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "style": [{"id": "20", "sentence": "The style and/or genre determine the identity."}, {"id": "21", "sentence": "Gunnarsson's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "Days": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "studies": [{"id": "27", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}], "invents": [{"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}], "Encased": [{"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}], "CITG": [{"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}], "unable": [{"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}], "afterwards": [{"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}], "0.053mm–0.15mm": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Until": [{"id": "07", "sentence": "Until I tried it."}], "50": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}], "relationship": [{"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "What is the relationship between the sounds of mining and the community that surrounds them?"}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}], "someone": [{"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}], "willing": [{"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}], "experimentation": [{"id": "24", "sentence": "This makes it particularly interesting when viewed from the perspective of experimentation and unorthodox composing."}], "Each": [{"id": "02", "sentence": "Each student had to develop their own project around the process of making a score."}, {"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}], "Shakira": [{"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}], "Destination": [{"id": "24", "sentence": "Shena 'Dark Road' by Annie Lennox 'Delivery' by Babyshambles 'Desecration Smile' by Red Hot Chili Peppers 'Destination Calabria' by Alex Gaudino feat."}], "synthesizer": [{"id": "04", "sentence": "For this event he will work with a film projection and a synthesizer, which he influences with his brainwaves."}, {"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}], "photovoltaics": [{"id": "27", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics."}], "step": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "Principium 2.0' is then another piece in step with the principle of Colson's original 'Principium'."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}], "outsourcing": [{"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}], "FL": [{"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "head": [{"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}], "Autumnsong": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}], "itself": [{"id": "05", "sentence": "The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology and national security."}, {"id": "18", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called 'cheironmy'."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}, {"id": "29", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "auditory": [{"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}], "facility": [{"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}], "BLADEL": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}], "V2": [{"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "non-pulse": [{"id": "22", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}], "timelines": [{"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}], "e-culture": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "experimental": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}, {"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "10", "sentence": "The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "13", "sentence": "He sees it as punk, experimental, noise, investigative and critical, searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}], "two-player": [{"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}], "Am": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}], "pigeons": [{"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}], "written": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "11", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "18", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}], "again": [{"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}], "education": [{"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}, {"id": "15", "sentence": "Holzer often works through a long, rigorous process of self-education in electronics."}], "objects": [{"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}, {"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}, {"id": "25", "sentence": "Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation."}], "Potassium": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "cash": [{"id": "27", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}], "Derek": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}, {"id": "16", "sentence": "Derek Holzer was invited for the event 'PUSHING' on 20 Jan 2017."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "turns": [{"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "25", "sentence": "Because she uses and records the archive, the end result almost turns out to be a DJ set."}], "empty": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "27", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}], "clocking": [{"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "Defun": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "treat": [{"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}], "noting": [{"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "Girl": [{"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}, {"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "lautpoesie": [{"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}], "Orientation": [{"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}], "Sveinbjarnardóttir": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "album": [{"id": "06", "sentence": "DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "Does it feel like that for you too: As your first 'real' album, as a statement?"}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}], "mountains": [{"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}], "Counting": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "ideas": [{"id": "02", "sentence": "We worked around the ideas present in our 'Pushing Scores' project."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "Varia will host the evening, and explain their ideas and approach to developing the archive."}, {"id": "10", "sentence": "It was a good concert and her way of working fit into our ideas of exploring graphic scores very well."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}], "apparatuses": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}], "boss": [{"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}], "aspirations": [{"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}], "glad": [{"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}], "Status": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "dubplate": [{"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}], "depicting": [{"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "These": [{"id": "04", "sentence": "These works deal with continuity and endless accessibility."}, {"id": "04", "sentence": "These books were the starting point for curating the event, which subsequently sat within our 'Pushing Scores' project."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "11", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "18", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "26", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "These questions are really haunting me ."}, {"id": "27", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}], "writer": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "counterparts": [{"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "beautiful": [{"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "Pretty nonsensical in a way, but it produced a really beautiful, and quite fragile, result."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}], "temporalities": [{"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}], "KAHN": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}], "shape": [{"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the working process."}, {"id": "20", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}], "Lazytown": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Beware": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "extensive": [{"id": "27", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "Since the beginning of his practice, he has made extensive use of recorded sound."}], "trying": [{"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}, {"id": "26", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}], "Courteeners": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "live": [{"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "On this evening, 'Resonanz' will be the starting point for a Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "For this evening event, 'Resonanz' will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Julia's solo live performances primarily refer to the modified vinyl records that produce extraordinary sounds."}, {"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "On the live oscilloscope concert Holzer states, 'The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "Her score was made on the spot with programming language; a sort of live coding."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "From this perspective, his live performances can also be considered as black mass implosions."}], "turned": [{"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}, {"id": "27", "sentence": "It just turned out that way, perhaps because that's how we generally tend to structure material."}], "He": [{"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "He is also an art book publisher (Onomatopee, Eindhoven, and WdW Review, Rotterdam)."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "05", "sentence": "He opens up the artistic field to explore what is happening in the art world."}, {"id": "06", "sentence": "He was intrigued by the invitation, but it took a long time to develop."}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "He then reassembled these line segments into new shapes and new lines."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "12", "sentence": "He calls this chapter 'Represent' because it is the project of the executive."}, {"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}, {"id": "13", "sentence": "He designed the publication and identity of the 'Aalto Natives' at the Finnish Pavilion of the 57th Venice Biennale."}, {"id": "13", "sentence": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}, {"id": "13", "sentence": "He sees it as punk, experimental, noise, investigative and critical, searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}, {"id": "17", "sentence": "He is inspiring for a lot of performance-based composers."}, {"id": "19", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}, {"id": "22", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "22", "sentence": "He also used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "22", "sentence": "He runs his own multi-instrumentalist quartet called Fersteinn."}, {"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "24", "sentence": "He usually uses multimedia elements."}, {"id": "24", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "24", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}, {"id": "27", "sentence": "He also expanded his archive with all related logistic processes."}, {"id": "27", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "28", "sentence": "He is currently a sound designer at the Art Academy of Bologna, Italy."}, {"id": "28", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}], "go": [{"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "If something was interesting for a while, but didn't stay interesting, it had to go."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "Art is letting things go, let it flow."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "That's just another way of letting things go, of giving up control."}, {"id": "27", "sentence": "Sometimes this can go horribly wrong."}], "Buckminster": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "Graphics": [{"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "melody": [{"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}], "Musikin": [{"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "misconception": [{"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}], "will": [{"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Metrostation Maashaven."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "01", "sentence": "Throughout 2016, 2017 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "For this event he will work with a film projection and a synthesizer, which he influences with his brainwaves."}, {"id": "06", "sentence": "The final installation will have twelve separate pieces: A complete octave."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "On this evening, 'Resonanz' will be the starting point for a Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "For this evening event, 'Resonanz' will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will host the evening, and explain their ideas and approach to developing the archive."}, {"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "27", "sentence": "If you work against it, it will kill you."}, {"id": "27", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "27", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "27", "sentence": "What shifts will we see?"}, {"id": "29", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "ongoing": [{"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "31", "sentence": "Spectral Arrows' is an ongoing series of long-duration performances for guitar and electronics."}], "Georgia": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "straight": [{"id": "06", "sentence": "I followed that score for eight hours straight."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "22", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}], "tons": [{"id": "06", "sentence": "And since I'm a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "27", "sentence": "This was part of a test production of around 30,000 tons."}], "his/her": [{"id": "09", "sentence": "Each student could design his/her own project on this medium."}], "Paradiso": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "11", "sentence": "The work was installed for a period at The Small Museum – a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}], "2017": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "01", "sentence": "Throughout 2016, 2017 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}, {"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART x JUBILEE event in 2017."}, {"id": "16", "sentence": "Derek Holzer was invited for the event 'PUSHING' on 20 Jan 2017."}, {"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}], "lepidolite": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "deals": [{"id": "04", "sentence": "Every aspect of his work deals with the quality of sound."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}], "second": [{"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}, {"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}], "subtitled": [{"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}], "That": [{"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "That's quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "That's just another way of letting things go, of giving up control."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}, {"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}, {"id": "27", "sentence": "That's why I wanted to have a thread about the regeneration of mining areas."}, {"id": "27", "sentence": "That is quite scary."}], "sent": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}], "confines": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}], "drug": [{"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}], "creative": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "06", "sentence": "But it's still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process as navigating its actualisation."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}], "atop": [{"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}], "Cola": [{"id": "24", "sentence": "Patrick Stump 'Curvy Cola Bottle Body' by Chico 'D.A.N.C.E."}], "flushed": [{"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "27", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}], "accompanied": [{"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}], "Enschede": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "theoreticians": [{"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}], "Mineral": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "call": [{"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}], "General": [{"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}], "twentieth-century": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}], "comprises": [{"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "zoos": [{"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "coming": [{"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "expand": [{"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}], "Gerben": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "equipment": [{"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "computing": [{"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}], "expressing": [{"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}], "Grant": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "Roberta": [{"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}], "Holiday": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "artist": [{"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}, {"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "RAFAËL ROZENDAAL (NL) Rafaël Rozendaal is a visual artist who uses the Internet as his canvas."}, {"id": "04", "sentence": "JUSTIN BENNETT (UK) Justin Bennett is an artist working with sound and visual media."}, {"id": "05", "sentence": "We have known Vaast Colson to be an interesting artist for quite some time already."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "What emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "07", "sentence": "— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}, {"id": "09", "sentence": "JOHANNES BERGMARK (SE) Johannes Bergmark is a Fylkingen-affiliated sound artist, instrument builder and piano technician."}, {"id": "10", "sentence": "VALENTINA VUKSIC (CH/NL) Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "24", "sentence": "Johannes Kreidler is a composer and concept and media artist."}, {"id": "25", "sentence": "Ana Guedes is a multidisciplinary artist from Portugal who lives and works in the Hague."}, {"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "29", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}, {"id": "30", "sentence": "This not only counts for publishing but also for exploring new possibilities for artist practice in general."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "2": [{"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "06", "sentence": "This resulted in 'Principium 2.0'."}, {"id": "06", "sentence": "It was presented at Stadslimiet, Antwerp, as an installation piece on 2 Jul 2015."}, {"id": "06", "sentence": "Principium 2.0' is then another piece in step with the principle of Colson's original 'Principium'."}, {"id": "06", "sentence": "The interview was conducted after he exhibited 'Principium 2.0' in an installation setting at Stadslimiet, Antwerp."}, {"id": "11", "sentence": "An interactive graphic score/light box/kinetic work fixed inside the cabinet, and 2."}, {"id": "12", "sentence": "Sacrificing, 2."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}, {"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "new": [{"id": "01", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The 'E-ARTHHA' event is about the search for new interfaces and possibilities for sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "02", "sentence": "This is a magazine without any format, with the intention for a new one to be developed each time."}, {"id": "04", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "06", "sentence": "He then reassembled these line segments into new shapes and new lines."}, {"id": "06", "sentence": "Line segments which he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "They're just new pieces in their own right."}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "All had worked with the medium of the vinyl record and added a new use/application."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "15", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "21", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "25", "sentence": "Ana Guedes' project 'UNTITLED RECORDS' fits into our idea of finding new ways to compose very seamlessly."}, {"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "27", "sentence": "Currently, Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "30", "sentence": "This not only counts for publishing but also for exploring new possibilities for artist practice in general."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "AU": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "sometimes": [{"id": "06", "sentence": "Sometimes I preferred elements because of harmonic information, notes that work well together, sometimes because of rhythms that worked well, etc."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}], "virtuosic": [{"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}], "Band": [{"id": "24", "sentence": "by Band Aid 'Do Without My Love' by Nathan [UK] 'Do You Know?"}], "employed": [{"id": "16", "sentence": "In the early 1960s, the composer Morton Subotnik employed engineer Don Buchla to help him create 'the music of the future'."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}], "effectively": [{"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "laser": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}], "idea": [{"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "But it's still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the working process."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}, {"id": "22", "sentence": "The idea of 'anitation' and the work of Guðmundur Steinn Gunnarsson fits perfectly within 'Pushing Scores'."}, {"id": "25", "sentence": "Ana Guedes' project 'UNTITLED RECORDS' fits into our idea of finding new ways to compose very seamlessly."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}, {"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}, {"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "astonished": [{"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "Broken": [{"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}], "electroacoustic": [{"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}], "Based": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "type": [{"id": "01", "sentence": "Later on, this developed into the type of musical notation we are familiar with in Western music."}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}], "2019": [{"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "beneficial": [{"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}], "shouldn": [{"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}], "soundproofing": [{"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}], "all": [{"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}, {"id": "02", "sentence": "The result is a combination of several media, which all coexist in a designed concrete object."}, {"id": "06", "sentence": "Together, all twelve records form the complete set, which one 'game' requires."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "In this way you would end up with all different records, each one an original."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it's own."}, {"id": "06", "sentence": "Kris Delacourt: The 10\" records have all been sold as well, so they sit somewhere in the middle."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "07", "sentence": "The usual code of the record, as defined by the music industry, was broken in all works."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "27", "sentence": "He also expanded his archive with all related logistic processes."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}], "mill": [{"id": "27", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}], "bringing": [{"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}], "rudimentary": [{"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "companion": [{"id": "26", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}], "methodology": [{"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}], "same": [{"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "It's an iron board and it has the same visuals as the sticker sheets."}, {"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "19", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "23", "sentence": "I think silence has that same relation with music."}, {"id": "23", "sentence": "Emptiness has that same relation with notation."}, {"id": "27", "sentence": "I did the same with coal."}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "It is based in Rotterdam in the same area that we operate in."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "friend": [{"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}], "mark": [{"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}], "structures": [{"id": "24", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}], "underlies": [{"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}], "Aloud": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "woke": [{"id": "27", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}], "rolls": [{"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}], "devoid": [{"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}], "history": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages throughout its history: 1."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "24", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "27", "sentence": "I'm very interested in the hidden layers and history the landscape."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "29", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}], "Hurdy-gurdy": [{"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}], "apply": [{"id": "27", "sentence": "I apply filters, use electronics."}], "involved": [{"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART x JUBILEE event in 2017."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "19", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "D.A.N.C.E": [{"id": "24", "sentence": "Patrick Stump 'Curvy Cola Bottle Body' by Chico 'D.A.N.C.E."}], "phenomenon": [{"id": "01", "sentence": "Throughout 2016, 2017 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "25", "sentence": "This 'other way' to come to sound is an interesting phenomenon."}], "WdW": [{"id": "04", "sentence": "He is also an art book publisher (Onomatopee, Eindhoven, and WdW Review, Rotterdam)."}, {"id": "04", "sentence": "He is also an art book publisher (Onomatopee, Eindhoven, and WdW Review, Rotterdam)."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}], "executive": [{"id": "12", "sentence": "He calls this chapter 'Represent' because it is the project of the executive."}], "version": [{"id": "06", "sentence": "As mentioned, the first version was a modified Casio keyboard."}, {"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "As mentioned, this is the short version, can you give me the full story?"}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}], "If": [{"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to Morse code."}, {"id": "06", "sentence": "If something was interesting for a while, but didn't stay interesting, it had to go."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Kris Delacourt: If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to Morse code."}, {"id": "06", "sentence": "If something was interesting for a while, but didn't stay interesting, it had to go."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Kris Delacourt: If you force me to choose between those two, then drone."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "27", "sentence": "If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "If you work against it, it will kill you."}, {"id": "27", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "27", "sentence": "If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "If you work against it, it will kill you."}, {"id": "27", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}], "contrary": [{"id": "06", "sentence": "Quite the contrary, actually."}], "interests": [{"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}], "costs": [{"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}], "comparatively": [{"id": "13", "sentence": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}], "home": [{"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "28", "sentence": "He also made periodic broadcasts from his own home."}], "President": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}], "lignite": [{"id": "27", "sentence": "It's not iron ore but lignite, 'braunkohle'."}], "Ellis": [{"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "store": [{"id": "13", "sentence": "Remco van Bladel grew up in the record store of his father."}, {"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}], "statistics": [{"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}], "conductors": [{"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}], "screens": [{"id": "22", "sentence": "This often requires presenting the music as moving graphics on computer screens."}], "Let": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "society": [{"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: What power does art have to change us and our society?"}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "24", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "24", "sentence": "His way of composing has a multimedia conceptual approach, which is mostly linked with processes in society."}, {"id": "27", "sentence": "In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it ."}], "1980s": [{"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "Acts": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}], "produces": [{"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}], "Stuttering": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "old": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}, {"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "27", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}], "composing": [{"id": "14", "sentence": "It completely complimented our thinking around how to imagine the concept of composing and making scores."}, {"id": "22", "sentence": "This technique of composing is performed by Guðmundur Steinn Gunnarsson and his quartet Fersteinn."}, {"id": "24", "sentence": "Johannes Kreidler is a special case when it comes to composing."}, {"id": "24", "sentence": "His way of composing has a multimedia conceptual approach, which is mostly linked with processes in society."}, {"id": "24", "sentence": "This makes it particularly interesting when viewed from the perspective of experimentation and unorthodox composing."}, {"id": "30", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}], "grew": [{"id": "13", "sentence": "Remco van Bladel grew up in the record store of his father."}], "four": [{"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "11", "sentence": "In the eleventh century, Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages throughout its history: 1."}, {"id": "27", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}], "parent": [{"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "projected": [{"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}], "quartz": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "about": [{"id": "01", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "The 'E-ARTHHA' event is about the search for new interfaces and possibilities for sound composition, image and performance."}, {"id": "04", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "27", "sentence": "That's why I wanted to have a thread about the regeneration of mining areas."}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "27", "sentence": "It's absurd when you start to think about it."}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "27", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "When we met we had discussions about several professional subjects and decided to realise a publication."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}], "Anything": [{"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}], "29": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}], "a": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC#3 is a particular kind of publishing platform engineered for sonic experiments, instruments and installations."}, {"id": "02", "sentence": "Some dare to say that it’s a kind of jukebox."}, {"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "02", "sentence": "This is a magazine without any format, with the intention for a new one to be developed each time."}, {"id": "02", "sentence": "Each student had to develop their own project around the process of making a score."}, {"id": "02", "sentence": "The result is a combination of several media, which all coexist in a designed concrete object."}, {"id": "02", "sentence": "It has a Raspberry Pi sits at its core, and is programmed for several applications."}, {"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}, {"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "It’s not a matter of an event between spectators and a musician– it’s a space to submit to a process."}, {"id": "04", "sentence": "RAFAËL ROZENDAAL (NL) Rafaël Rozendaal is a visual artist who uses the Internet as his canvas."}, {"id": "04", "sentence": "They are intensified visual and audio perceptions in a specific space."}, {"id": "04", "sentence": "His websites attract a large audience of over forty million unique visits per year."}, {"id": "04", "sentence": "FLORIS VANHOOF (BE) Floris Vanhoof is a filmmaker and musician from Belgium."}, {"id": "04", "sentence": "For this event he will work with a film projection and a synthesizer, which he influences with his brainwaves."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}, {"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "05", "sentence": "The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "05", "sentence": "This can be a performance, an object, a book or whatever other form he settles on."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "05", "sentence": "This print run is to be seen as a performative action."}, {"id": "05", "sentence": "It is a complex work that nevertheless manages to remain simple and accessible in its final execution."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be referred to as 'post-ironic'."}, {"id": "05", "sentence": "What emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}, {"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "He was intrigued by the invitation, but it took a long time to develop."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "Principium' comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "Pretty nonsensical in a way, but it produced a really beautiful, and quite fragile, result."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "As mentioned, the first version was a modified Casio keyboard."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "Well, a little… Two years, actually."}, {"id": "06", "sentence": "It's meant to be in a continued state of flux."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "And since I'm a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There's something appealing in using a single octave as a building block."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn't stay interesting, it had to go."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it's own."}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "How do you perceive the function a piece of vinyl can have?"}, {"id": "06", "sentence": "They were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "It really was a one-time event, with the vinyls functioning as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "But it's still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "Kris Delacourt: I do look at it as a solo thing."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process as navigating its actualisation."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "Does it feel like that for you too: As your first 'real' album, as a statement?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "And a statement..."}, {"id": "06", "sentence": "I don't think of it as a manifesto or anything."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "06", "sentence": "DE PLAYER: Do you see this as a drone record?"}, {"id": "06", "sentence": "Or as a collage record?"}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or perhaps you would perceive it as a failure if it weren't enjoyable without the concept?"}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "TELCOSYSTEMS (NL) Telcosystems presents 'Resonanz', an electronic book combining a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "On this evening, 'Resonanz' will be the starting point for a Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "With 'Resonanz', Telcosystems presents an electronic book that combines a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "On the live oscilloscope concert Holzer states, 'The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "Julia Bünnagel was also invited, under the guise of contributing a more physical input."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "In the case of the 'prepared record', the record or musical piece is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "All had worked with the medium of the vinyl record and added a new use/application."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}, {"id": "08", "sentence": "The initiatives gather within a part of the programme called 'Intersections'."}, {"id": "08", "sentence": "We decided to envision the framework for the installation as a three-dimensional staff to write down music."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it's use as a technology within her work."}, {"id": "09", "sentence": "JOHANNES BERGMARK (SE) Johannes Bergmark is a Fylkingen-affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "However, it was decided to start from the floppy disc as a medium."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the working process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "09", "sentence": "Transmitted through a beamer and an audio system, everything becomes visible and audible."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpart to his own musical input."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "It was a good concert and her way of working fit into our ideas of exploring graphic scores very well."}, {"id": "10", "sentence": "Her score was made on the spot with programming language; a sort of live coding."}, {"id": "10", "sentence": "VALENTINA VUKSIC (CH/NL) Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "Software being processed creates its own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "The invitation was perfectly suited for a project in public space that he had in mind for 'Pushing Scores'."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "11", "sentence": "The work was installed for a period at The Small Museum – a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer based in Amsterdam."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}, {"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "Holzer often works through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "He is inspiring for a lot of performance-based composers."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "18", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called 'cheironmy'."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "19", "sentence": "Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "19", "sentence": "For 'Pushing Scores', we invited him to make special work for a limited edition."}, {"id": "19", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "20", "sentence": "In a multicultural situation, abstract sounds are forms of recognition; then there is, for example, music."}, {"id": "20", "sentence": "Signification also plays a major role in this."}, {"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}, {"id": "20", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}, {"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}, {"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}, {"id": "21", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "21", "sentence": "Gunnarsson's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "21", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "21", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "22", "sentence": "Instead of using traditional musical scores during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}, {"id": "22", "sentence": "We also produced a limited polyurethane record with Fersteinn."}, {"id": "22", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "22", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "22", "sentence": "He also used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "Johannes Kreidler is a special case when it comes to composing."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}, {"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}, {"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}, {"id": "24", "sentence": "Johannes Kreidler is a composer and concept and media artist."}, {"id": "24", "sentence": "His way of composing has a multimedia conceptual approach, which is mostly linked with processes in society."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}, {"id": "24", "sentence": "Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'."}, {"id": "24", "sentence": "This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "Ana Guedes is a multidisciplinary artist from Portugal who lives and works in the Hague."}, {"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}, {"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "25", "sentence": "Because she uses and records the archive, the end result almost turns out to be a DJ set."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}, {"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}, {"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "26", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "26", "sentence": "The sonification of spider webs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}, {"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}, {"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "27", "sentence": "How much influence does it have on a community?"}, {"id": "27", "sentence": "The composition follows a more or less linear path, starting with 'deep' time."}, {"id": "27", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "27", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}, {"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "27", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "27", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "27", "sentence": "She still stores coal there in a small outhouse (called 'kullbingen')."}, {"id": "27", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "27", "sentence": "It is a vast scar in the landscape, and really an incredible place."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "That's why I wanted to have a thread about the regeneration of mining areas."}, {"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "27", "sentence": "If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste."}, {"id": "27", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "27", "sentence": "The composition follows a more or less linear path – starting with deep time."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "27", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "27", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "27", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "27", "sentence": "This was part of a test production of around 30,000 tons."}, {"id": "27", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "27", "sentence": "You have to take a boat to get there."}, {"id": "27", "sentence": "We have a tunnel that leads there."}, {"id": "27", "sentence": "In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it ."}, {"id": "27", "sentence": "It created a vacuum after it closed."}, {"id": "27", "sentence": "I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them ."}, {"id": "27", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "27", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "27", "sentence": "There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "27", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "27", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "27", "sentence": "It’s a kind of sound alchemy."}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}, {"id": "28", "sentence": "When we met we had discussions about several professional subjects and decided to realise a publication."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}, {"id": "28", "sentence": "He is currently a sound designer at the Art Academy of Bologna, Italy."}, {"id": "28", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}, {"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "29", "sentence": "Varia has developed a context and technical environment as a web-based archival publication."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "29", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}, {"id": "29", "sentence": "His presentation was a crossover between a lecture and a demonstration."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "30", "sentence": "In that sense, there is never a perfect reproduction but always an interpretation."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}, {"id": "30", "sentence": "This one is a pretty contemporary example and results in great imagery and sound."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "devise": [{"id": "02", "sentence": "We proposed to the students that they devise an issue of our publication Tetra Gamma Circulaire."}], "CH/NL": [{"id": "10", "sentence": "VALENTINA VUKSIC (CH/NL) Valentina Vuksic is a computer artist and programmer based in Zürich."}], "proceeding": [{"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}], "bodily": [{"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}], "theorist": [{"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}], "1981": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "fragility": [{"id": "27", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope."}], "pinning": [{"id": "06", "sentence": "Art is not pinning things down."}], "move": [{"id": "21", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "Instead of using traditional musical scores during the performance, the musicians follow specific instructions that move across a computer screen."}], "break": [{"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}], "Sláturtíð": [{"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "and took part in founding its festival Sláturtíð."}], "name": [{"id": "06", "sentence": "At least, that's where the initial form and the name came from."}, {"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}], "Under": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "support": [{"id": "26", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}], "indictment": [{"id": "24", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}], "outhouse": [{"id": "27", "sentence": "She still stores coal there in a small outhouse (called 'kullbingen')."}], "filtered": [{"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}], "Interview": [{"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}], "anything": [{"id": "06", "sentence": "I don't think of it as a manifesto or anything."}], "sheet": [{"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "Colson made two booklets in the 'Principium' series – comprised of reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "builder": [{"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "09", "sentence": "JOHANNES BERGMARK (SE) Johannes Bergmark is a Fylkingen-affiliated sound artist, instrument builder and piano technician."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}], "unveil": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}], "multi-instrumentalists": [{"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}], "disks": [{"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}], "photographic": [{"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "Post-war": [{"id": "16", "sentence": "Post-war developments continued in this direction."}], "intensity": [{"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "Alfie": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "night": [{"id": "01", "sentence": "Just so you can see them day and night, for roughly three weeks long."}, {"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}], "Since": [{"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "28", "sentence": "Since the beginning of his practice, he has made extensive use of recorded sound."}], "Heroes": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "Moving": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}], "1979": [{"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}], "commission": [{"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}, {"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}], "Delacourt": [{"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "Kris Delacourt)."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "This is an interview with Kris Delacourt (Remörk) on his practice and the 'Principium' story."}, {"id": "06", "sentence": "Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "Kris Delacourt: Oh, I think it's definitely something that's still evolving."}, {"id": "06", "sentence": "Kris Delacourt: Not really, at least not in this case."}, {"id": "06", "sentence": "Kris Delacourt: You do it in short sessions, hah."}, {"id": "06", "sentence": "Kris Delacourt: There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "06", "sentence": "Kris Delacourt: The 10\" records have all been sold as well, so they sit somewhere in the middle."}, {"id": "06", "sentence": "Kris Delacourt: I do look at it as a solo thing."}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "06", "sentence": "Kris Delacourt: If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "Kris Delacourt: I certainly do hope that it's enjoyable."}], "Cyrus": [{"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}], "unorthodox": [{"id": "24", "sentence": "This makes it particularly interesting when viewed from the perspective of experimentation and unorthodox composing."}], "plunder": [{"id": "24", "sentence": "This piece is to be seen as a plunder phonic composition in extremis."}], "losing": [{"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}], "Cold": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}], "appropriates": [{"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}], "juxtaposition": [{"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}], "shifts": [{"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "27", "sentence": "What shifts will we see?"}, {"id": "27", "sentence": "What shifts happened in the past?"}], "self-aware": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}], "must": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}], "Paramore": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "Uniting": [{"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}], "issues": [{"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}], "myth": [{"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}], "Professor": [{"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "K2O": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "viewpoints": [{"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}], "argentite": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "2016": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Throughout 2016, 2017 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}, {"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "Fusinato": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}, {"id": "31", "sentence": "We got in touch with Marco Fusinato through our '8-INCH' series."}, {"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "31", "sentence": "Fusinato's 'Mass Black Implosion' series began in 2007."}, {"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "1943": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}], "haiku": [{"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}], "caused": [{"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "disturb": [{"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}], "Abstract": [{"id": "06", "sentence": "Abstract poetry."}], "chiptune": [{"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "curating": [{"id": "04", "sentence": "These books were the starting point for curating the event, which subsequently sat within our 'Pushing Scores' project."}], "always": [{"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "27", "sentence": "The sound of the mine was always present."}, {"id": "27", "sentence": "I'm always processing and refining my field recordings."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "In that sense, there is never a perfect reproduction but always an interpretation."}, {"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}], "controllable": [{"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}], "spaces": [{"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}], "sequencer": [{"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}], "12:00–Sun": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "brought": [{"id": "06", "sentence": "Peter brought six record players, matching the six colours of the vinyl nicely – two notes each."}, {"id": "13", "sentence": "Yet these alternate approaches brought us together and made 'Pushing Scores' real."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}], "milliseconds": [{"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}], "finally": [{"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "27", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}], "materialisation": [{"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}], "plate": [{"id": "05", "sentence": "The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself."}, {"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}], "a.k.a": [{"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}], "Waters": [{"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}], "Crazy": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "enchants": [{"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}], "oscilloscope": [{"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "On the live oscilloscope concert Holzer states, 'The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}], "dare": [{"id": "02", "sentence": "Some dare to say that it’s a kind of jukebox."}], "comprise": [{"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}], "elementary": [{"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}], "Bas": [{"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}], "development": [{"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "21", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}], "PRESENTS": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}], "generator": [{"id": "06", "sentence": "And since I'm a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}], "also": [{"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "He is also an art book publisher (Onomatopee, Eindhoven, and WdW Review, Rotterdam)."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "07", "sentence": "Julia Bünnagel was also invited, under the guise of contributing a more physical input."}, {"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}, {"id": "13", "sentence": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "19", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "20", "sentence": "Signification also plays a major role in this."}, {"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}, {"id": "22", "sentence": "We also produced a limited polyurethane record with Fersteinn."}, {"id": "22", "sentence": "He also used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "23", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "24", "sentence": "Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'."}, {"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}, {"id": "27", "sentence": "He also expanded his archive with all related logistic processes."}, {"id": "27", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "27", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "27", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "27", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "27", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "28", "sentence": "Duncan also often works with Carl Michael Hausswolff, who is an expert in EVP."}, {"id": "28", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "30", "sentence": "This not only counts for publishing but also for exploring new possibilities for artist practice in general."}, {"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "31", "sentence": "From this perspective, his live performances can also be considered as black mass implosions."}], "Trying": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}], "challenged": [{"id": "26", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "up": [{"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "05", "sentence": "He opens up the artistic field to explore what is happening in the art world."}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "In this way you would end up with all different records, each one an original."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to Morse code."}, {"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process as navigating its actualisation."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "That's just another way of letting things go, of giving up control."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "13", "sentence": "The entire 'Pushing Scores' project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "Remco van Bladel grew up in the record store of his father."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "21", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "27", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "So much time is compressed in this material and it's burned up in minutes."}, {"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "27", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "27", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "27", "sentence": "Were they forced up North by circumstances?"}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}], "and/or": [{"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}, {"id": "20", "sentence": "The style and/or genre determine the identity."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "Singer": [{"id": "30", "sentence": "They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "Sonic": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}], "Larrikin": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "windows": [{"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}], "whole": [{"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "Were there people who actually listened to the whole eight-hour performance?"}, {"id": "06", "sentence": "Kris Delacourt: There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}], "APPLICATIONS": [{"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}], "artist-run": [{"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}], "investigate": [{"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "20", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}], "personifying": [{"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}], "Cascone": [{"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "Mn": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "contact": [{"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}], "dead": [{"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "genre": [{"id": "20", "sentence": "The style and/or genre determine the identity."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "consists": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "11", "sentence": "The work consists of two parts: 1."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "28", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}], "let": [{"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "Art is letting things go, let it flow."}], "groups": [{"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "Technische": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "emulation": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}], "man-made": [{"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}], "Calabria": [{"id": "24", "sentence": "Shena 'Dark Road' by Annie Lennox 'Delivery' by Babyshambles 'Desecration Smile' by Red Hot Chili Peppers 'Destination Calabria' by Alex Gaudino feat."}], "PLAYER": [{"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}, {"id": "06", "sentence": "DE PLAYER: Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "06", "sentence": "DE PLAYER: The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "DE PLAYER: Do you see this as a drone record?"}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson has been part of DE PLAYER's programme with his quartet Fersteinn several times."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "0.30": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "utopias": [{"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}], "lavender": [{"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "European": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}], "combined": [{"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}, {"id": "27", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "acoustics": [{"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}], "folding": [{"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}], "Andy": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}], "billboards": [{"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Metrostation Maashaven."}], "sampling": [{"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}], "S": [{"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}, {"id": "22", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Moon": [{"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "derived": [{"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "projects": [{"id": "04", "sentence": "His studio work focuses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (of one or more people)."}, {"id": "13", "sentence": "His studio focuses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "31", "sentence": "One of Marco's most-known projects is called 'Black Mass Implosion'."}], "Venice": [{"id": "13", "sentence": "He designed the publication and identity of the 'Aalto Natives' at the Finnish Pavilion of the 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}], "Midas": [{"id": "24", "sentence": "Team 'Don't' by Elvis Presley With The Jordanaires 'Don't Dance' by Midas 'Don't Give It Up' by Siobhan Donaghy"}], "animals": [{"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}], "DJ": [{"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "25", "sentence": "Because she uses and records the archive, the end result almost turns out to be a DJ set."}], "along": [{"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}], "so": [{"id": "01", "sentence": "Just so you can see them day and night, for roughly three weeks long."}, {"id": "01", "sentence": "Just so you can see them day and night, for roughly three weeks long."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to Morse code."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "Kris Delacourt: The 10\" records have all been sold as well, so they sit somewhere in the middle."}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to Morse code."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "Kris Delacourt: The 10\" records have all been sold as well, so they sit somewhere in the middle."}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called 'telephone adapters'."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called 'telephone adapters'."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}, {"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}, {"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}, {"id": "21", "sentence": "Fersteinn works with the method of so-called 'animation'."}, {"id": "21", "sentence": "Fersteinn works with the method of so-called 'animation'."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}, {"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}, {"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "27", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "27", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "Artists": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}], "sound/music": [{"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}], "Friedrich": [{"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "1973": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "referred": [{"id": "02", "sentence": "‘Fred Flintstone meets the twenty-first century’, it was referred to as."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be referred to as 'post-ironic'."}], "active": [{"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "22", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "27", "sentence": "Both in active mines and in the abandoned mines and buildings surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}], "ambient": [{"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}], "Te": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "broadcasts": [{"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "He also made periodic broadcasts from his own home."}], "Wiesbaden": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}], "Vanhoof": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "FLORIS VANHOOF (BE) Floris Vanhoof is a filmmaker and musician from Belgium."}, {"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}], "Iglesias": [{"id": "24", "sentence": "The Ping Pong Song)' by Enrique Iglesias 'Doing It Right' by The Go!"}], "extreme": [{"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}], "8.00": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "snowfall": [{"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}], "phone": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "generating": [{"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}], "Mass": [{"id": "31", "sentence": "One of Marco's most-known projects is called 'Black Mass Implosion'."}, {"id": "31", "sentence": "One of Marco's most-known projects is called 'Black Mass Implosion'."}, {"id": "31", "sentence": "Fusinato's 'Mass Black Implosion' series began in 2007."}, {"id": "31", "sentence": "Fusinato's 'Mass Black Implosion' series began in 2007."}], "synthetic": [{"id": "27", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}], "consonants": [{"id": "19", "sentence": "Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}], "HELGA": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}], "console": [{"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}], "superstructure": [{"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}], "entitled": [{"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "24", "sentence": "According to Kreidler, the action, entitled 'Fremdarbeit', is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "She presented her project entitled 'Arachnes Sonifier', in which she captures and makes audible spider webs."}], "effective": [{"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}], "Funny": [{"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}], "aiming": [{"id": "06", "sentence": "I guess I am aiming for the best of both worlds there."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}], "contaminated": [{"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}], "garnered": [{"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "free": [{"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "digitalcraft": [{"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}], "Indium": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "LCD": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "2014": [{"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "Darwinian": [{"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}], "Hamburg": [{"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}], "began": [{"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "31", "sentence": "Fusinato's 'Mass Black Implosion' series began in 2007."}], "busy": [{"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}], "0.08": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Everything": [{"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}], "Flanders": [{"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "acting": [{"id": "24", "sentence": "By acting consistently within these structures he creates his works."}], "centre": [{"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}], "computer-derived": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "disc": [{"id": "02", "sentence": "One restriction was decided upon: The scores had to be presented on floppy disc."}, {"id": "09", "sentence": "However, it was decided to start from the floppy disc as a medium."}], "workshops": [{"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}, {"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}], "Timberlake": [{"id": "24", "sentence": "Justin Timberlake & Timbaland 'Baby Baby' by Sunblock feat."}], "demonstrate": [{"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}], "static": [{"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "void": [{"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}], "memory": [{"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}, {"id": "10", "sentence": "Vuksic considers the time and space of computer processing and memory as levels of reality."}, {"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}], "wants": [{"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}], "nonsensical": [{"id": "06", "sentence": "Pretty nonsensical in a way, but it produced a really beautiful, and quite fragile, result."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}], "videos": [{"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}, {"id": "30", "sentence": "The end titles of many black MIDI videos display how many notes are in the piece."}], "Timidity": [{"id": "30", "sentence": "They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "Virtual": [{"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "audio-driven": [{"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}], "term": [{"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "22", "sentence": "Anitation' is the term for animated notation."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}], "preparations": [{"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "mortal": [{"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "utilises": [{"id": "10", "sentence": "By writing choreographies for software and computer elements, she utilises these technologies as actors in software/noise pieces for, and in, computers."}], "comparisons": [{"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}], "subject": [{"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}, {"id": "27", "sentence": "Over the years he has built up an extensive sound archive around this subject."}], "potential": [{"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "05", "sentence": "The commercial potential and its associated value assessment are problematic for Colson."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "20", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}, {"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}], "testing": [{"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}], "Dunkelmann": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "László": [{"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}], "stop": [{"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}, {"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}, {"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}, {"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}, {"id": "27", "sentence": "Where does mining stop?"}, {"id": "27", "sentence": "Where does mining stop?"}], "Circle": [{"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}], "computational": [{"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}], "dismissed": [{"id": "07", "sentence": "Resonanz' is an electronic book that I had first dismissed."}], "poems": [{"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}], "Caput": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "before": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "IRREGULAR": [{"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}], "Avenged": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "ROZENDAAL": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "RAFAËL ROZENDAAL (NL) Rafaël Rozendaal is a visual artist who uses the Internet as his canvas."}], "organised": [{"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}], "dates": [{"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}], "Moana": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}], "mean": [{"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "27", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}], "Manic": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}], "Navajo": [{"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}], "Sunfreakz": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "soundtracks": [{"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}], "contained": [{"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}], "celestial": [{"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}], "lot": [{"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "He is inspiring for a lot of performance-based composers."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "27", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "27", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them ."}], "perspex": [{"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}], "Leona": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "described": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}, {"id": "24", "sentence": "His work is described as conceptual music."}], "translation": [{"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}], "0.01": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "unwanted": [{"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}], "expert": [{"id": "28", "sentence": "Duncan also often works with Carl Michael Hausswolff, who is an expert in EVP."}], "context": [{"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}, {"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "29", "sentence": "Varia has developed a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}], "absorbed": [{"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}], "consultant": [{"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}], "couldn": [{"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}], "ultimate": [{"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}], "p.34": [{"id": "27", "sentence": "Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34."}], "Aid": [{"id": "24", "sentence": "by Band Aid 'Do Without My Love' by Nathan [UK] 'Do You Know?"}], "Shoes": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "liked": [{"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}], "walls": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "alongside": [{"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}], "Casio": [{"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "As mentioned, the first version was a modified Casio keyboard."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}], "activity": [{"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}], "father": [{"id": "13", "sentence": "Remco van Bladel grew up in the record store of his father."}], "intelligible": [{"id": "22", "sentence": "In that way, the most irregular things can become very intelligible."}], "period": [{"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "11", "sentence": "The work was installed for a period at The Small Museum – a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}], "useful": [{"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}], "following": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}], "authorship": [{"id": "24", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "24", "sentence": "According to Kreidler, the action, entitled 'Fremdarbeit', is intended to focus attention on the themes of exploitation and authorship."}], "Sadier": [{"id": "11", "sentence": "For this multi-vocal composition, Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}], "focus": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "At every level of detail, the everyday sound of our urban surroundings is the focus of his work."}, {"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "24", "sentence": "According to Kreidler, the action, entitled 'Fremdarbeit', is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}], "represented": [{"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}], "Preachers": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}], "Canon": [{"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}], "purely": [{"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}], "PRINCIPIUM": [{"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}], "continuity": [{"id": "04", "sentence": "These works deal with continuity and endless accessibility."}], "pure": [{"id": "06", "sentence": "I could have gone for something more 'correct' in terms of concept – I don't know, pure sine waves or something."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}], "North": [{"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "27", "sentence": "Were they forced up North by circumstances?"}], "moments": [{"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}], "Creation": [{"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}], "print": [{"id": "05", "sentence": "The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded."}, {"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "05", "sentence": "This print run is to be seen as a performative action."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}], "JAKOBSON": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}], "institutional": [{"id": "04", "sentence": "His studio work focuses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "His studio focuses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}], "POLY-DISCO": [{"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}], "inventions": [{"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}], "text-compositions": [{"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}], "easier": [{"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}], "sealed": [{"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}], "ears": [{"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}], "map": [{"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "27", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "27", "sentence": "Through soundwaves geologists are able to map what is underground."}], "mix": [{"id": "27", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}], "going": [{"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}, {"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}, {"id": "27", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}], "actors": [{"id": "10", "sentence": "By writing choreographies for software and computer elements, she utilises these technologies as actors in software/noise pieces for, and in, computers."}], "design": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "04", "sentence": "His studio work focuses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "13", "sentence": "His studio focuses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "27", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "29", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}], "harsh": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "March": [{"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}], "widely": [{"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}], "options": [{"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}], "US": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}], "appeared": [{"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}], "newspapers": [{"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}], "voltage": [{"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}], "consoles": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}], "architecture": [{"id": "04", "sentence": "Within it, he develops the reciprocity of music and architecture, and of sound and image."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}], "Good": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "31", "sentence": "Good food and drinks were served."}], "norm": [{"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}], "transposed": [{"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}], "fragile": [{"id": "06", "sentence": "Pretty nonsensical in a way, but it produced a really beautiful, and quite fragile, result."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "09", "sentence": "As another example, Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}], "introduce": [{"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "EVP": [{"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "28", "sentence": "Duncan also often works with Carl Michael Hausswolff, who is an expert in EVP."}], "Jürgenson": [{"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "D": [{"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "24", "sentence": "Patrick Stump 'Curvy Cola Bottle Body' by Chico 'D.A.N.C.E."}], "play": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "20", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "brutal": [{"id": "06", "sentence": "That's quite brutal to listen to in concentration, to be honest."}], "Justin": [{"id": "04", "sentence": "JUSTIN BENNETT (UK) Justin Bennett is an artist working with sound and visual media."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "24", "sentence": "Justin Timberlake & Timbaland 'Baby Baby' by Sunblock feat."}], "audible": [{"id": "09", "sentence": "Transmitted through a beamer and an audio system, everything becomes visible and audible."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "26", "sentence": "She presented her project entitled 'Arachnes Sonifier', in which she captures and makes audible spider webs."}], "both": [{"id": "02", "sentence": "This was put in place to both limit possibilities and to unite the format."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}, {"id": "06", "sentence": "I guess I am aiming for the best of both worlds there."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "20", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "27", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "Vehicle": [{"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}], "cleaning": [{"id": "27", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}], "Super": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "hard-": [], "Andrew": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Deterministic": [{"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}], "Biennale": [{"id": "13", "sentence": "He designed the publication and identity of the 'Aalto Natives' at the Finnish Pavilion of the 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "flip-flop": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}], "placing": [{"id": "19", "sentence": "Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}], "humming": [{"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}], "symbolise": [{"id": "27", "sentence": "Those recordings symbolise the stasis of time."}], "songs": [{"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}], "Any": [{"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}], "McFly": [{"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}], "utopian": [{"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}], "signature": [{"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}], "Wall": [{"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}], "Fontys": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "invitation": [{"id": "06", "sentence": "He was intrigued by the invitation, but it took a long time to develop."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "11", "sentence": "The invitation was perfectly suited for a project in public space that he had in mind for 'Pushing Scores'."}], "dissent": [{"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "revolves": [{"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}], "confection": [{"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}], "floor": [{"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}], "explored": [{"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}], "co-curator": [{"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}], "yes": [{"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "Kris Delacourt: There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "It really was a one-time event, with the vinyls functioning as a tool, yes."}], "occupied": [{"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}], "resolutely": [{"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}], "one-to-one": [{"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}], "Well": [{"id": "06", "sentence": "Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "Well, a little… Two years, actually."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}], "restricted": [{"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "Gnarls": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "MUSIC": [{"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}], "Lumiere": [{"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}], "WORKSHOP": [{"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}], "Whitney": [{"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}], "NL": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "RAFAËL ROZENDAAL (NL) Rafaël Rozendaal is a visual artist who uses the Internet as his canvas."}, {"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "TELCOSYSTEMS (NL) Telcosystems presents 'Resonanz', an electronic book combining a series of visual artworks and a sound publication."}, {"id": "10", "sentence": "VALENTINA VUKSIC (CH/NL) Valentina Vuksic is a computer artist and programmer based in Zürich."}], "BUENNAGEL": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}], "comes": [{"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "06", "sentence": "Principium' comes from the title of a project by Vaast Colson."}, {"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "18", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called 'cheironmy'."}, {"id": "20", "sentence": "Inspiration comes in the form of vocal poetry, 'poésie sonore' and text-sound composition."}, {"id": "24", "sentence": "Johannes Kreidler is a special case when it comes to composing."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}], "hurry-curdy": [{"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}], "Cascada": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "collect": [{"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "Mika": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "designer": [{"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer based in Amsterdam."}, {"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "28", "sentence": "He is currently a sound designer at the Art Academy of Bologna, Italy."}], "boundaries": [{"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}], "Britton": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "performing": [{"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "30", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}], "action": [{"id": "05", "sentence": "This print run is to be seen as a performative action."}, {"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "24", "sentence": "According to Kreidler, the action, entitled 'Fremdarbeit', is intended to focus attention on the themes of exploitation and authorship."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "limits": [{"id": "20", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}], "Nynne": [{"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}], "2.0": [{"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "06", "sentence": "This resulted in 'Principium 2.0'."}, {"id": "06", "sentence": "Principium 2.0' is then another piece in step with the principle of Colson's original 'Principium'."}, {"id": "06", "sentence": "The interview was conducted after he exhibited 'Principium 2.0' in an installation setting at Stadslimiet, Antwerp."}], "Jaðarber": [{"id": "22", "sentence": "He also used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}], "Which": [{"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}], "non-existent": [{"id": "22", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}], "functions": [{"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "06", "sentence": "And since I'm a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}], "Vectorian": [{"id": "07", "sentence": "On the live oscilloscope concert Holzer states, 'The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "over": [{"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "04", "sentence": "His websites attract a large audience of over forty million unique visits per year."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, which determines the rhythm."}, {"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}], "afforded": [{"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}], "stressed": [{"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}], "Love": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Sandy 'Baby Fratelli' by The Fratellis 'Baby Love' by Nicole Scherzinger Feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "by Band Aid 'Do Without My Love' by Nathan [UK] 'Do You Know?"}], "known": [{"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "05", "sentence": "We have known Vaast Colson to be an interesting artist for quite some time already."}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}, {"id": "30", "sentence": "People who make black MIDIs are known as 'blackers'."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "31", "sentence": "One of Marco's most-known projects is called 'Black Mass Implosion'."}], "nevertheless": [{"id": "05", "sentence": "It is a complex work that nevertheless manages to remain simple and accessible in its final execution."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}], "realise": [{"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "When we met we had discussions about several professional subjects and decided to realise a publication."}], "beauty": [{"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it's own."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "26", "sentence": "The sonification of spider webs asserts a reverence for the environment, the beauty of the ephemeral and loss."}], "creation": [{"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "market": [{"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}], "registers": [{"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}], "interventions": [{"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "perceive": [{"id": "06", "sentence": "How do you perceive the function a piece of vinyl can have?"}, {"id": "06", "sentence": "Or perhaps you would perceive it as a failure if it weren't enjoyable without the concept?"}], "Representing": [{"id": "12", "sentence": "Representing, 3."}], "chapter": [{"id": "12", "sentence": "He calls this chapter 'Represent' because it is the project of the executive."}], "samples": [{"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}], "monumental": [{"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "Records": [{"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB Records."}, {"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}], "should": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "observed": [{"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}], "5": [{"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "28", "sentence": "John Duncan took part in our event on 5 Oct 2018."}], "order": [{"id": "26", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}], "ended": [{"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}], "Orson": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "ceiling": [{"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}], "speed": [{"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}], "devices": [{"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "coexist": [{"id": "02", "sentence": "The result is a combination of several media, which all coexist in a designed concrete object."}], "region": [{"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}], "standardised": [{"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}], "frustrates": [{"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}], "braunkohle": [{"id": "27", "sentence": "It's not iron ore but lignite, 'braunkohle'."}], "and": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}, {"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Just so you can see them day and night, for roughly three weeks long."}, {"id": "01", "sentence": "The 'E-ARTHHA' event is about the search for new interfaces and possibilities for sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016, 2017 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC#3 is a particular kind of publishing platform engineered for sonic experiments, instruments and installations."}, {"id": "02", "sentence": "This was put in place to both limit possibilities and to unite the format."}, {"id": "02", "sentence": "It has a Raspberry Pi sits at its core, and is programmed for several applications."}, {"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}, {"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}, {"id": "04", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "It’s not a matter of an event between spectators and a musician– it’s a space to submit to a process."}, {"id": "04", "sentence": "These works deal with continuity and endless accessibility."}, {"id": "04", "sentence": "They are intensified visual and audio perceptions in a specific space."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "FLORIS VANHOOF (BE) Floris Vanhoof is a filmmaker and musician from Belgium."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}, {"id": "04", "sentence": "For this event he will work with a film projection and a synthesizer, which he influences with his brainwaves."}, {"id": "04", "sentence": "JUSTIN BENNETT (UK) Justin Bennett is an artist working with sound and visual media."}, {"id": "04", "sentence": "Within it, he develops the reciprocity of music and architecture, and of sound and image."}, {"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is also an art book publisher (Onomatopee, Eindhoven, and WdW Review, Rotterdam)."}, {"id": "04", "sentence": "His studio work focuses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "05", "sentence": "It is a complex work that nevertheless manages to remain simple and accessible in its final execution."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: What power does art have to change us and our society?"}, {"id": "05", "sentence": "What emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "The commercial potential and its associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "He then reassembled these line segments into new shapes and new lines."}, {"id": "06", "sentence": "Pretty nonsensical in a way, but it produced a really beautiful, and quite fragile, result."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "Colson made two booklets in the 'Principium' series – comprised of reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "Interestingly, he thought his resulting collages would be nice to use as scores – and they probably would have been."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "This is an interview with Kris Delacourt (Remörk) on his practice and the 'Principium' story."}, {"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "At least, that's where the initial form and the name came from."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "Line segments which he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It's an iron board and it has the same visuals as the sticker sheets."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for tens minutes and the B note is something like five minutes and twenty seconds."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in the number twelve even, and there's the appeal of building instruments too."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "They were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "There's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "TELCOSYSTEMS (NL) Telcosystems presents 'Resonanz', an electronic book combining a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "On this evening, 'Resonanz' will be the starting point for a Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "With 'Resonanz', Telcosystems presents an electronic book that combines a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "For this evening event, 'Resonanz' will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}, {"id": "07", "sentence": "— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne."}, {"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "07", "sentence": "All had worked with the medium of the vinyl record and added a new use/application."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it's use as a technology within her work."}, {"id": "09", "sentence": "JOHANNES BERGMARK (SE) Johannes Bergmark is a Fylkingen-affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the working process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "09", "sentence": "Transmitted through a beamer and an audio system, everything becomes visible and audible."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will host the evening, and explain their ideas and approach to developing the archive."}, {"id": "10", "sentence": "It was a good concert and her way of working fit into our ideas of exploring graphic scores very well."}, {"id": "10", "sentence": "The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}, {"id": "10", "sentence": "VALENTINA VUKSIC (CH/NL) Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "By writing choreographies for software and computer elements, she utilises these technologies as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers the time and space of computer processing and memory as levels of reality."}, {"id": "10", "sentence": "Software being processed creates its own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "An interactive graphic score/light box/kinetic work fixed inside the cabinet, and 2."}, {"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}, {"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}, {"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "13", "sentence": "This encompasses the conceptualisation, the funding and the execution."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "13", "sentence": "Yet these alternate approaches brought us together and made 'Pushing Scores' real."}, {"id": "13", "sentence": "His studio focuses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the 'Aalto Natives' at the Finnish Pavilion of the 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}, {"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "He sees it as punk, experimental, noise, investigative and critical, searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "It completely complimented our thinking around how to imagine the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}, {"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology and national security."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "18", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called 'cheironmy'."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "19", "sentence": "The performance 'frikativ' is real-time generated visual and sound poetry."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "19", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}, {"id": "20", "sentence": "The style and/or genre determine the identity."}, {"id": "20", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "20", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "20", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}, {"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}, {"id": "20", "sentence": "Inspiration comes in the form of vocal poetry, 'poésie sonore' and text-sound composition."}, {"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}, {"id": "20", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "This technique of composing is performed by Guðmundur Steinn Gunnarsson and his quartet Fersteinn."}, {"id": "22", "sentence": "This Icelandic quartet plays with little analogue instruments and animation scores Gunnarsson made on his computer."}, {"id": "22", "sentence": "It results in very delicate and unconventional chamber music."}, {"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}, {"id": "22", "sentence": "The idea of 'anitation' and the work of Guðmundur Steinn Gunnarsson fits perfectly within 'Pushing Scores'."}, {"id": "22", "sentence": "and took part in founding its festival Sláturtíð."}, {"id": "22", "sentence": "He also used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}, {"id": "24", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}, {"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "24", "sentence": "According to Kreidler, the action, entitled 'Fremdarbeit', is intended to focus attention on the themes of exploitation and authorship."}, {"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}, {"id": "24", "sentence": "Johannes Kreidler is a composer and concept and media artist."}, {"id": "24", "sentence": "This makes it particularly interesting when viewed from the perspective of experimentation and unorthodox composing."}, {"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "Ana Guedes is a multidisciplinary artist from Portugal who lives and works in the Hague."}, {"id": "25", "sentence": "She works with sound, video, installation and performance."}, {"id": "25", "sentence": "Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation."}, {"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}, {"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "25", "sentence": "Her archival approach and its political and personal implications are the starting point of this work."}, {"id": "25", "sentence": "Because she uses and records the archive, the end result almost turns out to be a DJ set."}, {"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "26", "sentence": "She presented her project entitled 'Arachnes Sonifier', in which she captures and makes audible spider webs."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}, {"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}, {"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "26", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "26", "sentence": "The sonification of spider webs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}, {"id": "26", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "26", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}, {"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "27", "sentence": "What is the relationship between the sounds of mining and the community that surrounds them?"}, {"id": "27", "sentence": "Both in active mines and in the abandoned mines and buildings surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "27", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope."}, {"id": "27", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "27", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "27", "sentence": "Currently, Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}, {"id": "27", "sentence": "Mining' by BJ Nilsen, 'Jazz' by Max Franklin and 'Earthquake' by Aurelie Lierman."}, {"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "27", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}, {"id": "27", "sentence": "It doesn't relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "27", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "27", "sentence": "It is a vast scar in the landscape, and really an incredible place."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "I'm very interested in the hidden layers and history the landscape."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "27", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "27", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "So much time is compressed in this material and it's burned up in minutes."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}, {"id": "27", "sentence": "Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34."}, {"id": "27", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "27", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "27", "sentence": "In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it ."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "27", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "27", "sentence": "There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "27", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "27", "sentence": "I'm always processing and refining my field recordings."}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}, {"id": "28", "sentence": "When we met we had discussions about several professional subjects and decided to realise a publication."}, {"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}, {"id": "28", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "29", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}, {"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "29", "sentence": "Varia has developed a context and technical environment as a web-based archival publication."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}, {"id": "29", "sentence": "His presentation was a crossover between a lecture and a demonstration."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}, {"id": "30", "sentence": "This one is a pretty contemporary example and results in great imagery and sound."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "30", "sentence": "They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}, {"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}, {"id": "31", "sentence": "Spectral Arrows' is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}, {"id": "31", "sentence": "For this we published 8\" records with artists and labels."}, {"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}, {"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}, {"id": "31", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}, {"id": "31", "sentence": "Good food and drinks were served."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "complimentary": [{"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}], "Age": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "bushes": [{"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "Off": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "coverage": [{"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "switch": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}], "toying": [{"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}], "WIELS": [{"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}], "Plantenga": [{"id": "23", "sentence": "Before the song there was the yodel,' As Bart Plantenga stated in his reading on yodeling."}], "graphics": [{"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "22", "sentence": "This often requires presenting the music as moving graphics on computer screens."}], "correct": [{"id": "06", "sentence": "I could have gone for something more 'correct' in terms of concept – I don't know, pure sine waves or something."}], "incipience": [{"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}], "differing": [{"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}], "multimedia": [{"id": "24", "sentence": "He usually uses multimedia elements."}, {"id": "24", "sentence": "His way of composing has a multimedia conceptual approach, which is mostly linked with processes in society."}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}], "commercial": [{"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "The commercial potential and its associated value assessment are problematic for Colson."}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}], "Romanticism": [{"id": "27", "sentence": "Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34."}], "simple": [{"id": "05", "sentence": "It is a complex work that nevertheless manages to remain simple and accessible in its final execution."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}], "since": [{"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "And since I'm a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "10", "sentence": "The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "Hausswolff": [{"id": "28", "sentence": "Duncan also often works with Carl Michael Hausswolff, who is an expert in EVP."}], "eliminate": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "writing": [{"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "By writing choreographies for software and computer elements, she utilises these technologies as actors in software/noise pieces for, and in, computers."}, {"id": "11", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "12", "sentence": "At the time of writing it would have been quite prophetic."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "18", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}], "Netherlands": [{"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "27", "sentence": "Both in active mines and in the abandoned mines and buildings surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "West": [{"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}], "pit": [{"id": "27", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}], "Changes": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "gain": [{"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}], "Duncan": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "John Duncan took part in our event on 5 Oct 2018."}, {"id": "28", "sentence": "Duncan also often works with Carl Michael Hausswolff, who is an expert in EVP."}, {"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "materiality": [{"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}], "archiving": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}], "Lissajous": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}], "Queen": [{"id": "24", "sentence": "Timbaland 'Another One Bites The Dust' by Queen vs."}], "platform": [{"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "02", "sentence": "TGC#3 is a particular kind of publishing platform engineered for sonic experiments, instruments and installations."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "19", "sentence": "He is also involved in the online poetry platform Huelkorven."}], "Using": [{"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}], "ultimately": [{"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}], "words": [{"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}], "enhance": [{"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}], "Kuro": [{"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}], "algorithmic": [{"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}], "Guedes": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "25", "sentence": "Ana Guedes is a multidisciplinary artist from Portugal who lives and works in the Hague."}, {"id": "25", "sentence": "Ana Guedes' project 'UNTITLED RECORDS' fits into our idea of finding new ways to compose very seamlessly."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}], "summer": [{"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}], "postgraduate": [{"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}], "Arduino-powered": [{"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}], "discussions": [{"id": "28", "sentence": "When we met we had discussions about several professional subjects and decided to realise a publication."}], "Silver": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Sydney": [{"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "industry": [{"id": "07", "sentence": "The usual code of the record, as defined by the music industry, was broken in all works."}, {"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}], "adopted": [{"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}, {"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}], "alone": [{"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "allows": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}], "1962": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}], "Christina": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "forced": [{"id": "27", "sentence": "Were they forced up North by circumstances?"}], "Street": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}], "paste": [{"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}], "comments": [{"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}], "Row": [{"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}], "day": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Just so you can see them day and night, for roughly three weeks long."}, {"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "This continues to question the representation of sound in media to this day."}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "could": [{"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be referred to as 'post-ironic'."}, {"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}, {"id": "06", "sentence": "I could have gone for something more 'correct' in terms of concept – I don't know, pure sine waves or something."}, {"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Because of this ambiguity, we are interested in what this stage of music could represent."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "26", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "29", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}], "pulse": [{"id": "21", "sentence": "Gunnarsson's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}], "playback": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}], "makes": [{"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "24", "sentence": "This makes it particularly interesting when viewed from the perspective of experimentation and unorthodox composing."}, {"id": "26", "sentence": "She presented her project entitled 'Arachnes Sonifier', in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}], "per": [{"id": "04", "sentence": "His websites attract a large audience of over forty million unique visits per year."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}], "utensils": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "selected": [{"id": "01", "sentence": "For every performance a different instrument has been selected."}], "haunting": [{"id": "27", "sentence": "These questions are really haunting me ."}], "dummy": [{"id": "04", "sentence": "They are cheap dummy books, onto which he poured ink in several colors."}], "standard": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}], "companies": [{"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "26", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "27", "sentence": "It is important for companies to manage this."}], "favourite": [{"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}], "survive": [{"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "27", "sentence": "You can only survive there if you work with nature."}], "vibrations": [{"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "evolutionary": [{"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}], "listen": [{"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "That's quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "27", "sentence": "Geologists read the stone, but they also listen to it."}], "Knížák": [{"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}], "oldest": [{"id": "27", "sentence": "The north of Norway is one of the oldest rock formations in the world."}], "Kürten": [{"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}], "Weller": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}], "ensure": [{"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}], "big": [{"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}], "runs": [{"id": "06", "sentence": "So the C note runs for tens minutes and the B note is something like five minutes and twenty seconds."}, {"id": "22", "sentence": "He runs his own multi-instrumentalist quartet called Fersteinn."}], "Kahn": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}, {"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "27", "sentence": "Currently, Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "27", "sentence": "For this event, Kahn did some kind of improvisation session on the works of the three invited artists."}], "Groupe": [{"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}], "thermal": [{"id": "29", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}], "strategy": [{"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}], "PZI_XPUB": [{"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}], "Sandy": [{"id": "24", "sentence": "Sandy 'Baby Fratelli' by The Fratellis 'Baby Love' by Nicole Scherzinger Feat."}], "making": [{"id": "02", "sentence": "Each student had to develop their own project around the process of making a score."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Yet I felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "14", "sentence": "It completely complimented our thinking around how to imagine the concept of composing and making scores."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}], "regular": [{"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "Ana": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "25", "sentence": "Ana Guedes is a multidisciplinary artist from Portugal who lives and works in the Hague."}, {"id": "25", "sentence": "Ana Guedes' project 'UNTITLED RECORDS' fits into our idea of finding new ways to compose very seamlessly."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}], "ERA": [{"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "ones": [{"id": "01", "sentence": "His best ones."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}], "courtesies": [{"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}], "researching": [{"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "27", "sentence": "Currently, Kahn is researching new interfaces and possibilities of sound composition, image and performance."}], "Saturday": [{"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}], "don": [{"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "So I don’t think I've quite finished with it, no."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "I could have gone for something more 'correct' in terms of concept – I don't know, pure sine waves or something."}, {"id": "06", "sentence": "So I don't think I belong in the conceptual art section."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "I don't know."}, {"id": "06", "sentence": "I don't think of it as a manifesto or anything."}, {"id": "06", "sentence": "I don't feel this record has that."}], "connects": [{"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}], "believing": [{"id": "26", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}], "Presley": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "Team 'Don't' by Elvis Presley With The Jordanaires 'Don't Dance' by Midas 'Don't Give It Up' by Siobhan Donaghy"}], "Paul": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}, {"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}], "Plus": [{"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}], "interrupted": [{"id": "27", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "The sounds of nature are not often interrupted by other sounds."}], "Nordic": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "added": [{"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "07", "sentence": "All had worked with the medium of the vinyl record and added a new use/application."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "A seventh note, 'si' or 'ti', was added later."}], "intensified": [{"id": "04", "sentence": "They are intensified visual and audio perceptions in a specific space."}], "hour": [{"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "Were there people who actually listened to the whole eight-hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}], "Long": [{"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}], "best": [{"id": "01", "sentence": "His best ones."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "I guess I am aiming for the best of both worlds there."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "imagery": [{"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "30", "sentence": "This one is a pretty contemporary example and results in great imagery and sound."}], "abstruse": [{"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}], "nice": [{"id": "06", "sentence": "Interestingly, he thought his resulting collages would be nice to use as scores – and they probably would have been."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}], "submitted": [{"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}], "cultural": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages throughout its history: 1."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "relatively": [{"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}], "dystopian": [{"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}], "activate": [{"id": "29", "sentence": "On the spot, the audience could activate the UNI."}], "Mathias": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}], "Fred": [{"id": "02", "sentence": "‘Fred Flintstone meets the twenty-first century’, it was referred to as."}, {"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "Vector": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}], "another": [{"id": "06", "sentence": "Principium 2.0' is then another piece in step with the principle of Colson's original 'Principium'."}, {"id": "06", "sentence": "Yet I felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "That's just another way of letting things go, of giving up control."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "09", "sentence": "As another example, Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}, {"id": "27", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}], "Carl": [{"id": "28", "sentence": "Duncan also often works with Carl Michael Hausswolff, who is an expert in EVP."}], "figures": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}], "hanging": [{"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}], "discussion": [{"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}], "ranged": [{"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}], "Hour": [{"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}], "criteria": [{"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}], "cheaper": [{"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}], "refuses": [{"id": "06", "sentence": "But Vaast, for instance, refuses to regard it as his doing."}], "Myers": [{"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}], "Shayne": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "mixes": [{"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}], "TELCOSYSTEMS": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "TELCOSYSTEMS (NL) Telcosystems presents 'Resonanz', an electronic book combining a series of visual artworks and a sound publication."}], "driver": [{"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}], "capturing": [{"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}], "Yet": [{"id": "06", "sentence": "Yet I felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "13", "sentence": "Yet these alternate approaches brought us together and made 'Pushing Scores' real."}], "function": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "06", "sentence": "How do you perceive the function a piece of vinyl can have?"}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}], "small": [{"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}, {"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}, {"id": "27", "sentence": "She still stores coal there in a small outhouse (called 'kullbingen')."}, {"id": "27", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "27", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}], "kinetic": [{"id": "11", "sentence": "An interactive graphic score/light box/kinetic work fixed inside the cabinet, and 2."}, {"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "explores": [{"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "20:30": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}], "Keersemaker": [{"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}], "Jovi": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Orchestra": [{"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "take": [{"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "27", "sentence": "You have to take a boat to get there."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}], "typography": [{"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}], "India": [{"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}], "spontaneity": [{"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}], "Charts": [{"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}], "lifestyle": [{"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}], "Florian": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "didn": [{"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "If something was interesting for a while, but didn't stay interesting, it had to go."}, {"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}], "died": [{"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}], "Designed": [{"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}], "connected": [{"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}], "seen": [{"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "05", "sentence": "This print run is to be seen as a performative action."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "24", "sentence": "This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}, {"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "shifting": [{"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}], "directly": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "24", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}, {"id": "27", "sentence": "It doesn't relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}], "Live": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}], "departure": [{"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}], "plays": [{"id": "20", "sentence": "Signification also plays a major role in this."}, {"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}, {"id": "21", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "This Icelandic quartet plays with little analogue instruments and animation scores Gunnarsson made on his computer."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}, {"id": "28", "sentence": "The medium of radio still plays a role in arriving at compositions."}], "3D": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}], "foreshadow": [{"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}], "puppet": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "lighting": [{"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}], "Nilsen": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}, {"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "27", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "27", "sentence": "Benny Nilsen approached us with his project 'ORE'."}, {"id": "27", "sentence": "Mining' by BJ Nilsen, 'Jazz' by Max Franklin and 'Earthquake' by Aurelie Lierman."}, {"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}], "asteroid": [{"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}], "Not": [{"id": "06", "sentence": "Kris Delacourt: Not really, at least not in this case."}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "continually": [{"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}], "adapters": [{"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called 'telephone adapters'."}], "positions": [{"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}], "vries": [{"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}], "yield": [{"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}], "pen": [{"id": "26", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}], "Blossom": [{"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}], "Rather": [{"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}], "Rhythm": [{"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}], "WiFi": [{"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}], "mixed": [{"id": "27", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "27", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}], "images": [{"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}], "steel": [{"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "pioneers": [{"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}], "rest": [{"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "27", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}], "May": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "doubts": [{"id": "06", "sentence": "Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts."}], "Aug": [{"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}], "begins": [{"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}], "textures": [{"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}], "Jazz": [{"id": "27", "sentence": "Mining' by BJ Nilsen, 'Jazz' by Max Franklin and 'Earthquake' by Aurelie Lierman."}], "Free": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "top": [{"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}], "PIKSEL": [{"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}], "sensual": [{"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}], "white": [{"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}], "early-": [], "Grøn": [{"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}], "make": [{"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}, {"id": "19", "sentence": "For 'Pushing Scores', we invited him to make special work for a limited edition."}, {"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "26", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "One is the waste you make to get to the ore."}, {"id": "27", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "30", "sentence": "People who make black MIDIs are known as 'blackers'."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "includes": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}], "constraint": [{"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}], "blank": [{"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}], "E-ARTHHA": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The 'E-ARTHHA' event is about the search for new interfaces and possibilities for sound composition, image and performance."}, {"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}], "town": [{"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}], "explosive": [{"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}], "enrolled": [{"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}], "em": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "naive": [{"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}], "increasing": [{"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}], "stated": [{"id": "23", "sentence": "Before the song there was the yodel,' As Bart Plantenga stated in his reading on yodeling."}], "matters": [{"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}], "agreed": [{"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}], "expansion": [{"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "Heerlen": [{"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}], "special": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "19", "sentence": "For 'Pushing Scores', we invited him to make special work for a limited edition."}, {"id": "24", "sentence": "Johannes Kreidler is a special case when it comes to composing."}], "translated": [{"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}], "Beggin": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "207": [{"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}], "interpretable": [{"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}], "now": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "27", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}, {"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}], "stasis": [{"id": "27", "sentence": "Those recordings symbolise the stasis of time."}], "arpeggios": [{"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "ARCHIVING": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}], "lengths": [{"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}], "Alex": [{"id": "24", "sentence": "Shena 'Dark Road' by Annie Lennox 'Delivery' by Babyshambles 'Desecration Smile' by Red Hot Chili Peppers 'Destination Calabria' by Alex Gaudino feat."}], "organising": [{"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}], "By": [{"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "10", "sentence": "By writing choreographies for software and computer elements, she utilises these technologies as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "By writing choreographies for software and computer elements, she utilises these technologies as actors in software/noise pieces for, and in, computers."}, {"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "24", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "24", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "27", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "27", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}], "numerous": [{"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}], "end": [{"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "In this way you would end up with all different records, each one an original."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to Morse code."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "25", "sentence": "Because she uses and records the archive, the end result almost turns out to be a DJ set."}, {"id": "30", "sentence": "The end titles of many black MIDI videos display how many notes are in the piece."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "parallelling": [{"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}], "namely": [{"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}], "Emma": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "surface": [{"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "27", "sentence": "If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste."}], "interactive": [{"id": "04", "sentence": "His studio work focuses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "11", "sentence": "An interactive graphic score/light box/kinetic work fixed inside the cabinet, and 2."}, {"id": "13", "sentence": "His studio focuses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}], "who": [{"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "04", "sentence": "RAFAËL ROZENDAAL (NL) Rafaël Rozendaal is a visual artist who uses the Internet as his canvas."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be referred to as 'post-ironic'."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job designing the packaging."}, {"id": "06", "sentence": "Were there people who actually listened to the whole eight-hour performance?"}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}, {"id": "25", "sentence": "Ana Guedes is a multidisciplinary artist from Portugal who lives and works in the Hague."}, {"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}, {"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "27", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "28", "sentence": "Duncan also often works with Carl Michael Hausswolff, who is an expert in EVP."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "30", "sentence": "People who make black MIDIs are known as 'blackers'."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}], "structure": [{"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "21", "sentence": "Gunnarsson's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "It just turned out that way, perhaps because that's how we generally tend to structure material."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}], "things.Jörg": [], "NIEK": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}], "Guillemots": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "method": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "18", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called 'cheironmy'."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "21", "sentence": "Fersteinn works with the method of so-called 'animation'."}], "overthink": [{"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}], "23": [{"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "5.00": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Exotica": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}], "Miami": [{"id": "24", "sentence": "The Miami Project 'Anthem' by Filo & Peri feat."}], "according": [{"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}], ".TUNING": [], "insufficient": [{"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}], "controlling": [{"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "participants": [{"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}], "made": [{"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "Colson made two booklets in the 'Principium' series – comprised of reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "10", "sentence": "Her score was made on the spot with programming language; a sort of live coding."}, {"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "Yet these alternate approaches brought us together and made 'Pushing Scores' real."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "19", "sentence": "Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "21", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "21", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "This Icelandic quartet plays with little analogue instruments and animation scores Gunnarsson made on his computer."}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "27", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "27", "sentence": "The musique concrète, as developed by Henry at GRM, was made by magnetic tape."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "27", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "27", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Since the beginning of his practice, he has made extensive use of recorded sound."}, {"id": "28", "sentence": "He also made periodic broadcasts from his own home."}], "Ross": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "influential": [{"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "27", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}], "pianos": [{"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "Quo": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "embarrassment": [{"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}], "horizontal": [{"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "keen": [{"id": "06", "sentence": "DE PLAYER: Dennis said you were not really keen on doing this record at first."}], "Bigger": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "coin": [{"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}], "Husk": [{"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}], "Jennifer": [{"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}], "supposed": [{"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}], "John": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "John Duncan took part in our event on 5 Oct 2018."}, {"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}], "Him": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "AMVK": [{"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}], "propensity": [{"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "blackers": [{"id": "30", "sentence": "People who make black MIDIs are known as 'blackers'."}, {"id": "30", "sentence": "People who make black MIDIs are known as 'blackers'."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "actual": [{"id": "17", "sentence": "The 'Event Scores' of George Brecht are still actual pieces."}, {"id": "29", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "attention": [{"id": "24", "sentence": "According to Kreidler, the action, entitled 'Fremdarbeit', is intended to focus attention on the themes of exploitation and authorship."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "Thingamajigs": [{"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "amongst": [{"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}], "engineer": [{"id": "16", "sentence": "In the early 1960s, the composer Morton Subotnik employed engineer Don Buchla to help him create 'the music of the future'."}], "Kuzbass": [{"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "existing": [{"id": "06", "sentence": "Yet I felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "vehicle": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}], "determines": [{"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, which determines the rhythm."}, {"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}], "Reijnoudt": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Esther": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "Justice": [{"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}], "Cherry": [{"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}], "situations": [{"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}], "between": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "04", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "It’s not a matter of an event between spectators and a musician– it’s a space to submit to a process."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "Kris Delacourt: If you force me to choose between those two, then drone."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "What is the relationship between the sounds of mining and the community that surrounds them?"}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "29", "sentence": "His presentation was a crossover between a lecture and a demonstration."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}], "keep": [{"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "DIVERSE": [{"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}], "laserbeam": [{"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}], "convinced": [{"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}], "amateurs": [{"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}], "Chemical": [{"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "card": [{"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}], "articulators": [{"id": "19", "sentence": "Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}], "Rock": [{"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}], "contemporary": [{"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "20", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "30", "sentence": "This one is a pretty contemporary example and results in great imagery and sound."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "Kampen": [{"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}], "likened": [{"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "26", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}], "BY": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}], "Sean": [{"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}], "SYNTHESIS": [{"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}], "Sreeuwenberg": [{"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}], "influencing": [{"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}], "thirteenth": [{"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}], "couple": [{"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}], "reflect": [{"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}], "American": [{"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "CRT": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}], "Multilingualism": [{"id": "20", "sentence": "Multilingualism is important in giving meaning to the things around us."}], "Rozendaal/Luuk": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "Nixon": [{"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}], "rather": [{"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "06", "sentence": "Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}], "+": [], "cooperation": [{"id": "13", "sentence": "The entire 'Pushing Scores' project was set up in cooperation with Remco van Bladel."}], "MARTENS": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}], "Gilmour": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}], "adds": [{"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}], "pioneering": [{"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}], "Use": [{"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}], "VARIA": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}], "very": [{"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "06", "sentence": "It just rang as very poetic to me."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "10", "sentence": "It was a good concert and her way of working fit into our ideas of exploring graphic scores very well."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "22", "sentence": "It results in very delicate and unconventional chamber music."}, {"id": "22", "sentence": "In that way, the most irregular things can become very intelligible."}, {"id": "25", "sentence": "Ana Guedes' project 'UNTITLED RECORDS' fits into our idea of finding new ways to compose very seamlessly."}, {"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}, {"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}, {"id": "27", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "27", "sentence": "I'm very interested in the hidden layers and history the landscape."}, {"id": "31", "sentence": "A huge public announcement system was in the office blazing loud, but very articulated sound."}], "visual": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "RAFAËL ROZENDAAL (NL) Rafaël Rozendaal is a visual artist who uses the Internet as his canvas."}, {"id": "04", "sentence": "They are intensified visual and audio perceptions in a specific space."}, {"id": "04", "sentence": "JUSTIN BENNETT (UK) Justin Bennett is an artist working with sound and visual media."}, {"id": "07", "sentence": "TELCOSYSTEMS (NL) Telcosystems presents 'Resonanz', an electronic book combining a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "With 'Resonanz', Telcosystems presents an electronic book that combines a series of visual artworks and a sound publication."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "19", "sentence": "For example, his work 'frakativ' is an electronic visual sound poetry performance."}, {"id": "19", "sentence": "The performance 'frikativ' is real-time generated visual and sound poetry."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}, {"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}], "different": [{"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}, {"id": "06", "sentence": "In this way you would end up with all different records, each one an original."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "To complete the event we searched for two completely different approaches to composition."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "27", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "27", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "27", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "27", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "27", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "27", "sentence": "Different types of stone give different frequency readings."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}], "movement": [{"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}], "generations": [{"id": "20", "sentence": "New generations are born."}], "chunks": [{"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}], "man": [{"id": "23", "sentence": "Before God needed to be invented there were man."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}], "vanBasco": [{"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "2nite": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Crystal": [{"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}], "requires": [{"id": "06", "sentence": "Together, all twelve records form the complete set, which one 'game' requires."}, {"id": "22", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}], "effect": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}], "1234": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "publications": [{"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "Faster": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "instantaneously": [{"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}], "you": [{"id": "01", "sentence": "Just so you can see them day and night, for roughly three weeks long."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "As mentioned, this is the short version, can you give me the full story?"}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "In this way you would end up with all different records, each one an original."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to Morse code."}, {"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}, {"id": "06", "sentence": "DE PLAYER: Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "How do you do that?"}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}, {"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "How do you perceive the function a piece of vinyl can have?"}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "Does it feel like that for you too: As your first 'real' album, as a statement?"}, {"id": "06", "sentence": "DE PLAYER: Do you see this as a drone record?"}, {"id": "06", "sentence": "Kris Delacourt: If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or perhaps you would perceive it as a failure if it weren't enjoyable without the concept?"}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}, {"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "27", "sentence": "One is the waste you make to get to the ore."}, {"id": "27", "sentence": "If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste."}, {"id": "27", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "27", "sentence": "It's absurd when you start to think about it."}, {"id": "27", "sentence": "It's not like wind or the sun, which give you immediate energy."}, {"id": "27", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "27", "sentence": "In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it ."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "You can only survive there if you work with nature."}, {"id": "27", "sentence": "If you work against it, it will kill you."}, {"id": "27", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}], "Gert-Jan": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "Jonas": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "duration": [{"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "31", "sentence": "Spectral Arrows' is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}], "via": [{"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called 'telephone adapters'."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "commodity": [{"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}], "weeks": [{"id": "01", "sentence": "Just so you can see them day and night, for roughly three weeks long."}], "ILDA": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}], "Pi": [{"id": "02", "sentence": "It has a Raspberry Pi sits at its core, and is programmed for several applications."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}], "apparatus": [{"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}], "Stone": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Rumble": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "annual": [{"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}], "time-lapse": [{"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}], "Enter": [{"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}], "investigative": [{"id": "13", "sentence": "He sees it as punk, experimental, noise, investigative and critical, searching for dissonance and ordering of information, for rhythm and tonality."}], "Sacrificing": [{"id": "12", "sentence": "Sacrificing, 2."}], "terms": [{"id": "06", "sentence": "I could have gone for something more 'correct' in terms of concept – I don't know, pure sine waves or something."}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}], "life": [{"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}], "bloggers": [{"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "Shayna": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "spider": [{"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "26", "sentence": "She presented her project entitled 'Arachnes Sonifier', in which she captures and makes audible spider webs."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}, {"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}, {"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "26", "sentence": "The sonification of spider webs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}, {"id": "26", "sentence": "She presented her project entitled 'Arachnes Sonifier', in which she captures and makes audible spider webs."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}, {"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}, {"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "26", "sentence": "The sonification of spider webs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}], "chemist": [{"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}], "NIEA": [{"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "early": [{"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "16", "sentence": "In the early 1960s, the composer Morton Subotnik employed engineer Don Buchla to help him create 'the music of the future'."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}], "Jibbs": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "directing": [{"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}], "Road": [{"id": "24", "sentence": "Shena 'Dark Road' by Annie Lennox 'Delivery' by Babyshambles 'Desecration Smile' by Red Hot Chili Peppers 'Destination Calabria' by Alex Gaudino feat."}], "archaeology": [{"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}], "coding": [{"id": "10", "sentence": "Her score was made on the spot with programming language; a sort of live coding."}], "representing": [{"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "box/kinetic": [{"id": "11", "sentence": "An interactive graphic score/light box/kinetic work fixed inside the cabinet, and 2."}], "behind-the-scenes": [{"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "players": [{"id": "06", "sentence": "Peter brought six record players, matching the six colours of the vinyl nicely – two notes each."}, {"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "30", "sentence": "They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}], "would": [{"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "06", "sentence": "Interestingly, he thought his resulting collages would be nice to use as scores – and they probably would have been."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "In this way you would end up with all different records, each one an original."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or perhaps you would perceive it as a failure if it weren't enjoyable without the concept?"}, {"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "12", "sentence": "At the time of writing it would have been quite prophetic."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}], "two-year": [{"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}], "Baby": [{"id": "24", "sentence": "Justin Timberlake & Timbaland 'Baby Baby' by Sunblock feat."}, {"id": "24", "sentence": "Sandy 'Baby Fratelli' by The Fratellis 'Baby Love' by Nicole Scherzinger Feat."}, {"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}, {"id": "24", "sentence": "Justin Timberlake & Timbaland 'Baby Baby' by Sunblock feat."}, {"id": "24", "sentence": "Sandy 'Baby Fratelli' by The Fratellis 'Baby Love' by Nicole Scherzinger Feat."}, {"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}], "punch": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}], "Book": [{"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}], "maximum": [{"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}], "too": [{"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "There’s something appealing in the number twelve even, and there's the appeal of building instruments too."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "There's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Does it feel like that for you too: As your first 'real' album, as a statement?"}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "27", "sentence": "In practice it's quite mathematical, but it still it is part of the sound world too."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}], "choral": [{"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}], "electronics": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "15", "sentence": "Holzer often works through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "20", "sentence": "Improper uses of consumer electronics (e.g."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "I apply filters, use electronics."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}, {"id": "31", "sentence": "Spectral Arrows' is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "media": [{"id": "01", "sentence": "This continues to question the representation of sound in media to this day."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "02", "sentence": "The result is a combination of several media, which all coexist in a designed concrete object."}, {"id": "04", "sentence": "JUSTIN BENNETT (UK) Justin Bennett is an artist working with sound and visual media."}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "24", "sentence": "Johannes Kreidler is a composer and concept and media artist."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "29", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}], "Arnhem": [{"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}], "acquainted": [{"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}], "programs": [{"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}], "TDK": [{"id": "27", "sentence": "I had hundreds of cassette tapes, mostly TDK."}], "fundament": [{"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}], "Dec": [{"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}], "selections": [{"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}], "Korea": [{"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}], "dialectical": [{"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "Eyes": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "what": [{"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "01", "sentence": "So what is the current state of the graphic score?"}, {"id": "05", "sentence": "He opens up the artistic field to explore what is happening in the art world."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "So that's what happened."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "12", "sentence": "Because of this ambiguity, we are interested in what this stage of music could represent."}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "27", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "27", "sentence": "Through soundwaves geologists are able to map what is underground."}, {"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}], "taken": [{"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "26", "sentence": "Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "question": [{"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media to this day."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}], "film": [{"id": "04", "sentence": "For this event he will work with a film projection and a synthesizer, which he influences with his brainwaves."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}], "underpinning": [{"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}], "fostering": [{"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}], "hotspot": [{"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}], "fears": [{"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}], "eaten": [{"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "value": [{"id": "05", "sentence": "The commercial potential and its associated value assessment are problematic for Colson."}, {"id": "20", "sentence": "It is important here that the language is sung off the usual value of speech."}], "remove": [{"id": "27", "sentence": "If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste."}], "HIELE": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}], "During": [{"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "21", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "29", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}], "anyway": [{"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}], "switches": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}], "leftover": [{"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}], "Soundsystem": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "features": [{"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}], "case": [{"id": "06", "sentence": "Kris Delacourt: Not really, at least not in this case."}, {"id": "07", "sentence": "In the case of the 'prepared record', the record or musical piece is not used as a reproductive technique."}, {"id": "24", "sentence": "Johannes Kreidler is a special case when it comes to composing."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "guideline": [{"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the working process."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}], "drifting": [{"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}], "pieces.Johannes": [], "Instead": [{"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "22", "sentence": "Instead of using traditional musical scores during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}], "acoustic": [{"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}], "Conservatorium": [{"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}], "compositional": [{"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}], "impressive": [{"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}], "embed": [{"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}], "Blackers": [{"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "never": [{"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "30", "sentence": "In that sense, there is never a perfect reproduction but always an interpretation."}], "1990": [{"id": "27", "sentence": "Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34."}], "1960s": [{"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "16", "sentence": "In the early 1960s, the composer Morton Subotnik employed engineer Don Buchla to help him create 'the music of the future'."}], "initiated": [{"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}], "common": [{"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}], "Tectonics": [{"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "distinctive": [{"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "ownership": [{"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}], "Max": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "As another example, Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "27", "sentence": "Mining' by BJ Nilsen, 'Jazz' by Max Franklin and 'Earthquake' by Aurelie Lierman."}], "defective": [{"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}], "Foerster": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "Sand": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "moment": [{"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}], "eyes": [{"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "Tcherepnin": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}], "constitutes": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}], "WORM": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "musician–": [], "Chamber": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "assess": [{"id": "13", "sentence": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}], "vibratory": [{"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}], "detuning": [{"id": "01", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}], "MORE": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}], "Monkeys": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "processes": [{"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "15", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "24", "sentence": "His way of composing has a multimedia conceptual approach, which is mostly linked with processes in society."}, {"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}, {"id": "27", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope."}, {"id": "27", "sentence": "He also expanded his archive with all related logistic processes."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "performed": [{"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology and national security."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}, {"id": "19", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "22", "sentence": "This technique of composing is performed by Guðmundur Steinn Gunnarsson and his quartet Fersteinn."}, {"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}], "of": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}, {"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "The work is voiced by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Metrostation Maashaven."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}, {"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Throughout 2016, 2017 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on, this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media to this day."}, {"id": "01", "sentence": "So what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "TGC#3 is a particular kind of publishing platform engineered for sonic experiments, instruments and installations."}, {"id": "02", "sentence": "Some dare to say that it’s a kind of jukebox."}, {"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "02", "sentence": "We proposed to the students that they devise an issue of our publication Tetra Gamma Circulaire."}, {"id": "02", "sentence": "Each student had to develop their own project around the process of making a score."}, {"id": "02", "sentence": "The result is a combination of several media, which all coexist in a designed concrete object."}, {"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}, {"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}, {"id": "04", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Every aspect of his work deals with the quality of sound."}, {"id": "04", "sentence": "It’s not a matter of an event between spectators and a musician– it’s a space to submit to a process."}, {"id": "04", "sentence": "His websites attract a large audience of over forty million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "At every level of detail, the everyday sound of our urban surroundings is the focus of his work."}, {"id": "04", "sentence": "Within it, he develops the reciprocity of music and architecture, and of sound and image."}, {"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "05", "sentence": "The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded."}, {"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "05", "sentence": "The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be referred to as 'post-ironic'."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "What emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "Principium' comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "Colson made two booklets in the 'Principium' series – comprised of reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}, {"id": "06", "sentence": "Principium 2.0' is then another piece in step with the principle of Colson's original 'Principium'."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "It's meant to be in a continued state of flux."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "Yet I felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "Peter brought six record players, matching the six colours of the vinyl nicely – two notes each."}, {"id": "06", "sentence": "And since I'm a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "End of piece."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}, {"id": "06", "sentence": "There’s something appealing in the number twelve even, and there's the appeal of building instruments too."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB Records."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "Sometimes I preferred elements because of harmonic information, notes that work well together, sometimes because of rhythms that worked well, etc."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it's own."}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "06", "sentence": "I could have gone for something more 'correct' in terms of concept – I don't know, pure sine waves or something."}, {"id": "06", "sentence": "The improvisation might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "How do you perceive the function a piece of vinyl can have?"}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "But it's still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "That's just another way of letting things go, of giving up control."}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "I don't think of it as a manifesto or anything."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "I guess I am aiming for the best of both worlds there."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "TELCOSYSTEMS (NL) Telcosystems presents 'Resonanz', an electronic book combining a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "With 'Resonanz', Telcosystems presents an electronic book that combines a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "For this evening event, 'Resonanz' will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "She is part of the sound art collective Sculptress of Sound."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}, {"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "Julia Bünnagel was also invited, under the guise of contributing a more physical input."}, {"id": "07", "sentence": "In the case of the 'prepared record', the record or musical piece is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "07", "sentence": "All had worked with the medium of the vinyl record and added a new use/application."}, {"id": "07", "sentence": "The usual code of the record, as defined by the music industry, was broken in all works."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "08", "sentence": "The initiatives gather within a part of the programme called 'Intersections'."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the working process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (of one or more people)."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}, {"id": "09", "sentence": "As another example, Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}, {"id": "10", "sentence": "It was a good concert and her way of working fit into our ideas of exploring graphic scores very well."}, {"id": "10", "sentence": "Her score was made on the spot with programming language; a sort of live coding."}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "Vuksic considers the time and space of computer processing and memory as levels of reality."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The work consists of two parts: 1."}, {"id": "11", "sentence": "The piece is voiced by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "11", "sentence": "The work was installed for a period at The Small Museum – a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "11", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "12", "sentence": "It was particularly of interested to us because of the way in which he focuses on the reproduction of music."}, {"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}, {"id": "12", "sentence": "It refers to the era of printed music (1500–1900)."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "He calls this chapter 'Represent' because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "At the time of writing it would have been quite prophetic."}, {"id": "12", "sentence": "Because of this ambiguity, we are interested in what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the 'Aalto Natives' at the Finnish Pavilion of the 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}, {"id": "13", "sentence": "Remco van Bladel grew up in the record store of his father."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "He sees it as punk, experimental, noise, investigative and critical, searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "14", "sentence": "It completely complimented our thinking around how to imagine the concept of composing and making scores."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}, {"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "Holzer often works through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}, {"id": "16", "sentence": "In the early 1960s, the composer Morton Subotnik employed engineer Don Buchla to help him create 'the music of the future'."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}, {"id": "17", "sentence": "The 'Event Scores' of George Brecht are still actual pieces."}, {"id": "17", "sentence": "He is inspiring for a lot of performance-based composers."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "18", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called 'cheironmy'."}, {"id": "18", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "20", "sentence": "In a multicultural situation, abstract sounds are forms of recognition; then there is, for example, music."}, {"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}, {"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "20", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "20", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "20", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "20", "sentence": "Improper uses of consumer electronics (e.g."}, {"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}, {"id": "20", "sentence": "Inspiration comes in the form of vocal poetry, 'poésie sonore' and text-sound composition."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "21", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}, {"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "21", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "21", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "21", "sentence": "Fersteinn works with the method of so-called 'animation'."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "22", "sentence": "Instead of using traditional musical scores during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "22", "sentence": "This technique of composing is performed by Guðmundur Steinn Gunnarsson and his quartet Fersteinn."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson has been part of DE PLAYER's programme with his quartet Fersteinn several times."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}, {"id": "22", "sentence": "The idea of 'anitation' and the work of Guðmundur Steinn Gunnarsson fits perfectly within 'Pushing Scores'."}, {"id": "22", "sentence": "He also used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}, {"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}, {"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}, {"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "24", "sentence": "According to Kreidler, the action, entitled 'Fremdarbeit', is intended to focus attention on the themes of exploitation and authorship."}, {"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}, {"id": "24", "sentence": "His way of composing has a multimedia conceptual approach, which is mostly linked with processes in society."}, {"id": "24", "sentence": "This makes it particularly interesting when viewed from the perspective of experimentation and unorthodox composing."}, {"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}, {"id": "24", "sentence": "Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}, {"id": "25", "sentence": "Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation."}, {"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "25", "sentence": "Ana Guedes' project 'UNTITLED RECORDS' fits into our idea of finding new ways to compose very seamlessly."}, {"id": "25", "sentence": "Her archival approach and its political and personal implications are the starting point of this work."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "26", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "26", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "26", "sentence": "The sonification of spider webs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "26", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}, {"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "26", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "27", "sentence": "What is the relationship between the sounds of mining and the community that surrounds them?"}, {"id": "27", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope."}, {"id": "27", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "27", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "27", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "27", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "27", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}, {"id": "27", "sentence": "Currently, Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}, {"id": "27", "sentence": "For this event, Kahn did some kind of improvisation session on the works of the three invited artists."}, {"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}, {"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "27", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "27", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "27", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "27", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "That's why I wanted to have a thread about the regeneration of mining areas."}, {"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}, {"id": "27", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste."}, {"id": "27", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "27", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "27", "sentence": "This was part of a test production of around 30,000 tons."}, {"id": "27", "sentence": "We can see layers of hematite."}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "27", "sentence": "The sound of the mine was always present."}, {"id": "27", "sentence": "I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "27", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "It's good for the human psyche to be reminded of that."}, {"id": "27", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them ."}, {"id": "27", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "27", "sentence": "Different types of stone give different frequency readings."}, {"id": "27", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "27", "sentence": "In practice it's quite mathematical, but it still it is part of the sound world too."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "27", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "27", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "27", "sentence": "I had hundreds of cassette tapes, mostly TDK."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "27", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "27", "sentence": "It’s a kind of sound alchemy."}, {"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "28", "sentence": "He is currently a sound designer at the Art Academy of Bologna, Italy."}, {"id": "28", "sentence": "Since the beginning of his practice, he has made extensive use of recorded sound."}, {"id": "28", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "28", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}, {"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "29", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}, {"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}, {"id": "30", "sentence": "The end titles of many black MIDI videos display how many notes are in the piece."}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}, {"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "Spectral Arrows' is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "31", "sentence": "One of Marco's most-known projects is called 'Black Mass Implosion'."}, {"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "emitted": [{"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}], "octaves": [{"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}], "descending": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "sonic": [{"id": "02", "sentence": "TGC#3 is a particular kind of publishing platform engineered for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}], "thinking": [{"id": "01", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "14", "sentence": "It completely complimented our thinking around how to imagine the concept of composing and making scores."}, {"id": "25", "sentence": "Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation."}], "category": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}], "series": [{"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "06", "sentence": "Colson made two booklets in the 'Principium' series – comprised of reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "07", "sentence": "TELCOSYSTEMS (NL) Telcosystems presents 'Resonanz', an electronic book combining a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "With 'Resonanz', Telcosystems presents an electronic book that combines a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "22", "sentence": "He also used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "31", "sentence": "Spectral Arrows' is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "31", "sentence": "We got in touch with Marco Fusinato through our '8-INCH' series."}, {"id": "31", "sentence": "Fusinato's 'Mass Black Implosion' series began in 2007."}], "Pask": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "keyboard": [{"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "As mentioned, the first version was a modified Casio keyboard."}, {"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}], "disseminating": [{"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}], "flecked": [{"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}], "His": [{"id": "01", "sentence": "His best ones."}, {"id": "04", "sentence": "His websites attract a large audience of over forty million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "His studio work focuses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "13", "sentence": "His studio focuses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "24", "sentence": "His work is described as conceptual music."}, {"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "24", "sentence": "His way of composing has a multimedia conceptual approach, which is mostly linked with processes in society."}, {"id": "27", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}, {"id": "28", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "His presentation was a crossover between a lecture and a demonstration."}, {"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "instruments": [{"id": "02", "sentence": "TGC#3 is a particular kind of publishing platform engineered for sonic experiments, instruments and installations."}, {"id": "06", "sentence": "There’s something appealing in the number twelve even, and there's the appeal of building instruments too."}, {"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "22", "sentence": "This Icelandic quartet plays with little analogue instruments and animation scores Gunnarsson made on his computer."}, {"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}], "check": [{"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}], "Zone": [{"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "Floris": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "FLORIS VANHOOF (BE) Floris Vanhoof is a filmmaker and musician from Belgium."}, {"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}], "individually": [{"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}], "read": [{"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "27", "sentence": "Geologists read the stone, but they also listen to it."}], "constructing": [{"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}], "slowly": [{"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}], "credits": [{"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}], "Apr": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}], "Vaast": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "05", "sentence": "We have known Vaast Colson to be an interesting artist for quite some time already."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}, {"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "Principium' comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "There's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "But Vaast, for instance, refuses to regard it as his doing."}], "remoteness": [{"id": "27", "sentence": "I am drawn to the Arctic as a sound person because of its relative remoteness."}], "introduced": [{"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "11", "sentence": "In the eleventh century, Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}], "To": [{"id": "07", "sentence": "To complete the event we searched for two completely different approaches to composition."}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}, {"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "combine": [{"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}], "hardware": [{"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}], "Loaf": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "processing…": [], "Both": [{"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "27", "sentence": "Both in active mines and in the abandoned mines and buildings surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}], "consent": [{"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "across": [{"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "07", "sentence": "On the live oscilloscope concert Holzer states, 'The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "21", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "Instead of using traditional musical scores during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "26", "sentence": "Knowledge sharing across traditions has often taken place through oral mythology."}], "narrative": [{"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}], "than": [{"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "Remörk": [{"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}, {"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "This is an interview with Kris Delacourt (Remörk) on his practice and the 'Principium' story."}, {"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}], "capitalism": [{"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}], "live-made": [{"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}], "Get": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}], "necessity": [{"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}], "Valentia": [{"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}], "pragmatic": [{"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}], "layer": [{"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "27", "sentence": "If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste."}, {"id": "27", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "27", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}], "Arnaud": [{"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}], "Due": [{"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}], "Vuksic": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART x JUBILEE event in 2017."}, {"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}, {"id": "10", "sentence": "VALENTINA VUKSIC (CH/NL) Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "Vuksic considers the time and space of computer processing and memory as levels of reality."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}], "Gon": [], "hesitation": [{"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}], "Second": [{"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "match": [{"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}], "Sonifier": [{"id": "26", "sentence": "She presented her project entitled 'Arachnes Sonifier', in which she captures and makes audible spider webs."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}], "purpose": [{"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}], "Jan": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "16", "sentence": "Derek Holzer was invited for the event 'PUSHING' on 20 Jan 2017."}], "Boxes": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "mediators": [{"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}], "instance": [{"id": "06", "sentence": "But Vaast, for instance, refuses to regard it as his doing."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}], "compactly": [{"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}], "given": [{"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "Subotnik": [{"id": "16", "sentence": "In the early 1960s, the composer Morton Subotnik employed engineer Don Buchla to help him create 'the music of the future'."}], "Historia": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "amazing": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job designing the packaging."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}], "Proclaimers": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "mystery": [{"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "FRANKLIN": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}], "You": [{"id": "06", "sentence": "Kris Delacourt: You do it in short sessions, hah."}, {"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Kris Delacourt: You do it in short sessions, hah."}, {"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}, {"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "by Band Aid 'Do Without My Love' by Nathan [UK] 'Do You Know?"}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}, {"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "by Band Aid 'Do Without My Love' by Nathan [UK] 'Do You Know?"}, {"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}, {"id": "27", "sentence": "You have to take a boat to get there."}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "27", "sentence": "You can only survive there if you work with nature."}, {"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}, {"id": "27", "sentence": "You have to take a boat to get there."}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "27", "sentence": "You can only survive there if you work with nature."}], "magnet": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}], "waveform": [{"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}], "perspective": [{"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}, {"id": "24", "sentence": "This makes it particularly interesting when viewed from the perspective of experimentation and unorthodox composing."}, {"id": "31", "sentence": "From this perspective, his live performances can also be considered as black mass implosions."}], "Wijk": [{"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "Para-phonic": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}], "means": [{"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "20", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "This means animated notation."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}], "Jun": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}], "1.0": [{"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "We first encountered 'Principium 1.0'."}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}], "Circular": [{"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}], "plant": [{"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "27", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}], "actively": [{"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}], "upon": [{"id": "02", "sentence": "One restriction was decided upon: The scores had to be presented on floppy disc."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "section": [{"id": "06", "sentence": "So I don't think I belong in the conceptual art section."}], "Holloways": [{"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}], "arguably": [{"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}], "setup": [{"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}], "strangely": [{"id": "07", "sentence": "It's strangely hypnotising."}], "coloured": [{"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}, {"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}], "imagining": [{"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}], "Angel": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "member": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}], "born": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "20", "sentence": "New generations are born."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}], "lost": [{"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "She": [{"id": "07", "sentence": "She is part of the sound art collective Sculptress of Sound."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called 'telephone adapters'."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "25", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "She presented her project entitled 'Arachnes Sonifier', in which she captures and makes audible spider webs."}, {"id": "26", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "She still stores coal there in a small outhouse (called 'kullbingen')."}], "https": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "inclinations": [{"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}], "emphasising": [{"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}], "Rostock": [{"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}], "kilometers": [{"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "radically": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}], "dance": [{"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}, {"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}], "church": [{"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}], "Dutch": [{"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}], "14": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}], "posed": [{"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}], "claim": [{"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}], "extends": [{"id": "27", "sentence": "It doesn't relate directly to mining, but it extends the project to include geology, deep time and stone."}], "avoid": [{"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}], "rising": [{"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}], "30,000": [{"id": "27", "sentence": "This was part of a test production of around 30,000 tons."}], "Tin": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Ultra": [{"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "DE PLAYER: The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}], "solely": [{"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}], "training": [{"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}], "three-month": [{"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}], "liberation": [{"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}], "BOWTIE/AN": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}], "instrument": [{"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "09", "sentence": "JOHANNES BERGMARK (SE) Johannes Bergmark is a Fylkingen-affiliated sound artist, instrument builder and piano technician."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "I also worked with stone as an instrument, striking and recording it."}], "Knowledge": [{"id": "26", "sentence": "Knowledge sharing across traditions has often taken place through oral mythology."}], "Contemporary": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}], "variable": [{"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}], "drone": [{"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "DE PLAYER: Do you see this as a drone record?"}, {"id": "06", "sentence": "Kris Delacourt: If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "So more drone, definitely."}], "No": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "impressions": [{"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}], "runtime": [{"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}], "analysing": [{"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}], "public": [{"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "10", "sentence": "Software being processed creates its own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "11", "sentence": "The invitation was perfectly suited for a project in public space that he had in mind for 'Pushing Scores'."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}, {"id": "31", "sentence": "A huge public announcement system was in the office blazing loud, but very articulated sound."}], "Bob": [{"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}], "primarily": [{"id": "07", "sentence": "Julia's solo live performances primarily refer to the modified vinyl records that produce extraordinary sounds."}, {"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}], "struggles": [{"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}], "probably": [{"id": "06", "sentence": "Interestingly, he thought his resulting collages would be nice to use as scores – and they probably would have been."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}], "teacher": [{"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}], "pasting": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}], "The": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "The work is voiced by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "The 'E-ARTHHA' event is about the search for new interfaces and possibilities for sound composition, image and performance."}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "The work is voiced by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "The 'E-ARTHHA' event is about the search for new interfaces and possibilities for sound composition, image and performance."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "02", "sentence": "One restriction was decided upon: The scores had to be presented on floppy disc."}, {"id": "02", "sentence": "The result is a combination of several media, which all coexist in a designed concrete object."}, {"id": "02", "sentence": "One restriction was decided upon: The scores had to be presented on floppy disc."}, {"id": "02", "sentence": "The result is a combination of several media, which all coexist in a designed concrete object."}, {"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "05", "sentence": "The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded."}, {"id": "05", "sentence": "The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself."}, {"id": "05", "sentence": "The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded."}, {"id": "05", "sentence": "The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "The commercial potential and its associated value assessment are problematic for Colson."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "The commercial potential and its associated value assessment are problematic for Colson."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "The final installation will have twelve separate pieces: A complete octave."}, {"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "The final installation will have twelve separate pieces: A complete octave."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "The office material, those colourful little dots."}, {"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "The office material, those colourful little dots."}, {"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "The interview was conducted after he exhibited 'Principium 2.0' in an installation setting at Stadslimiet, Antwerp."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, which determines the rhythm."}, {"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "The improvisation might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "Kris Delacourt: The 10\" records have all been sold as well, so they sit somewhere in the middle."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "DE PLAYER: The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "The interview was conducted after he exhibited 'Principium 2.0' in an installation setting at Stadslimiet, Antwerp."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, which determines the rhythm."}, {"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "The improvisation might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "Kris Delacourt: The 10\" records have all been sold as well, so they sit somewhere in the middle."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "DE PLAYER: The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "07", "sentence": "On the live oscilloscope concert Holzer states, 'The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "07", "sentence": "On the live oscilloscope concert Holzer states, 'The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The usual code of the record, as defined by the music industry, was broken in all works."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The usual code of the record, as defined by the music industry, was broken in all works."}, {"id": "08", "sentence": "The initiatives gather within a part of the programme called 'Intersections'."}, {"id": "08", "sentence": "The initiatives gather within a part of the programme called 'Intersections'."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the working process."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the working process."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}, {"id": "10", "sentence": "The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The work consists of two parts: 1."}, {"id": "11", "sentence": "The piece is voiced by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The work consists of two parts: 1."}, {"id": "11", "sentence": "The piece is voiced by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "The invitation was perfectly suited for a project in public space that he had in mind for 'Pushing Scores'."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "11", "sentence": "The invitation was perfectly suited for a project in public space that he had in mind for 'Pushing Scores'."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "11", "sentence": "The work was installed for a period at The Small Museum – a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "11", "sentence": "The work was installed for a period at The Small Museum – a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "13", "sentence": "The entire 'Pushing Scores' project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "The entire 'Pushing Scores' project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology and national security."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology and national security."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "17", "sentence": "The 'Event Scores' of George Brecht are still actual pieces."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "17", "sentence": "The 'Event Scores' of George Brecht are still actual pieces."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "19", "sentence": "The performance 'frikativ' is real-time generated visual and sound poetry."}, {"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "19", "sentence": "The performance 'frikativ' is real-time generated visual and sound poetry."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "20", "sentence": "The style and/or genre determine the identity."}, {"id": "20", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "20", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "20", "sentence": "The style and/or genre determine the identity."}, {"id": "20", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "20", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}, {"id": "22", "sentence": "The idea of 'anitation' and the work of Guðmundur Steinn Gunnarsson fits perfectly within 'Pushing Scores'."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}, {"id": "22", "sentence": "The idea of 'anitation' and the work of Guðmundur Steinn Gunnarsson fits perfectly within 'Pushing Scores'."}, {"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "The system was therefore completely stuck."}, {"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "24", "sentence": "The system was therefore completely stuck."}, {"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Timbaland 'Another One Bites The Dust' by Queen vs."}, {"id": "24", "sentence": "The Miami Project 'Anthem' by Filo & Peri feat."}, {"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}, {"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}, {"id": "24", "sentence": "Sandy 'Baby Fratelli' by The Fratellis 'Baby Love' by Nicole Scherzinger Feat."}, {"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}, {"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}, {"id": "24", "sentence": "The Ping Pong Song)' by Enrique Iglesias 'Doing It Right' by The Go!"}, {"id": "24", "sentence": "Team 'Don't' by Elvis Presley With The Jordanaires 'Don't Dance' by Midas 'Don't Give It Up' by Siobhan Donaghy"}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Timbaland 'Another One Bites The Dust' by Queen vs."}, {"id": "24", "sentence": "The Miami Project 'Anthem' by Filo & Peri feat."}, {"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}, {"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}, {"id": "24", "sentence": "Sandy 'Baby Fratelli' by The Fratellis 'Baby Love' by Nicole Scherzinger Feat."}, {"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}, {"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}, {"id": "24", "sentence": "The Ping Pong Song)' by Enrique Iglesias 'Doing It Right' by The Go!"}, {"id": "24", "sentence": "Team 'Don't' by Elvis Presley With The Jordanaires 'Don't Dance' by Midas 'Don't Give It Up' by Siobhan Donaghy"}, {"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}, {"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}, {"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "26", "sentence": "The sonification of spider webs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}, {"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "26", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "26", "sentence": "The sonification of spider webs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}, {"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "26", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}, {"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}, {"id": "27", "sentence": "The composition follows a more or less linear path, starting with 'deep' time."}, {"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}, {"id": "27", "sentence": "The musique concrète, as developed by Henry at GRM, was made by magnetic tape."}, {"id": "27", "sentence": "The composition follows a more or less linear path, starting with 'deep' time."}, {"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}, {"id": "27", "sentence": "The musique concrète, as developed by Henry at GRM, was made by magnetic tape."}, {"id": "27", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "27", "sentence": "The mountain just sits there."}, {"id": "27", "sentence": "The sounds are environmental."}, {"id": "27", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "27", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "27", "sentence": "The composition follows a more or less linear path – starting with deep time."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "27", "sentence": "The sound of the mine was always present."}, {"id": "27", "sentence": "The landscape is fairly untouched, it is scarcely populated, it's desolate."}, {"id": "27", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them ."}, {"id": "27", "sentence": "The Arctic is changing quickly."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "27", "sentence": "All to get to the desired result: The gold!"}, {"id": "27", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "27", "sentence": "The mountain just sits there."}, {"id": "27", "sentence": "The sounds are environmental."}, {"id": "27", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "27", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "27", "sentence": "The composition follows a more or less linear path – starting with deep time."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "27", "sentence": "The sound of the mine was always present."}, {"id": "27", "sentence": "The landscape is fairly untouched, it is scarcely populated, it's desolate."}, {"id": "27", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them ."}, {"id": "27", "sentence": "The Arctic is changing quickly."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "27", "sentence": "All to get to the desired result: The gold!"}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "28", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}, {"id": "29", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}, {"id": "29", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}, {"id": "30", "sentence": "The end titles of many black MIDI videos display how many notes are in the piece."}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}, {"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}, {"id": "30", "sentence": "The end titles of many black MIDI videos display how many notes are in the piece."}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "instrumentalise": [{"id": "25", "sentence": "Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation."}], "aura": [{"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "fair": [{"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}], "filmmaker": [{"id": "04", "sentence": "FLORIS VANHOOF (BE) Floris Vanhoof is a filmmaker and musician from Belgium."}], "whether": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}], "Fil": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "park": [{"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}], "disturber": [{"id": "26", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}], "visits": [{"id": "04", "sentence": "His websites attract a large audience of over forty million unique visits per year."}], "encountered": [{"id": "06", "sentence": "We first encountered 'Principium 1.0'."}], "publicly": [{"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}], "June": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "reality": [{"id": "10", "sentence": "Vuksic considers the time and space of computer processing and memory as levels of reality."}, {"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}], "advance": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "next": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "facilitate": [{"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}], "physical": [{"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}, {"id": "07", "sentence": "Julia Bünnagel was also invited, under the guise of contributing a more physical input."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}, {"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}, {"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}], "dancer": [{"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}], "Dukalska": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}], "0.05": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "hardly": [{"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}], "ca": [], "Ca": [], "Art": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "06", "sentence": "Art is letting things go, let it flow."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "28", "sentence": "He is currently a sound designer at the Art Academy of Bologna, Italy."}], "tonality": [{"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "13", "sentence": "He sees it as punk, experimental, noise, investigative and critical, searching for dissonance and ordering of information, for rhythm and tonality."}], "begin": [{"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}], "Benny": [{"id": "27", "sentence": "Benny Nilsen approached us with his project 'ORE'."}, {"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}], "sit": [{"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Kris Delacourt: The 10\" records have all been sold as well, so they sit somewhere in the middle."}], "automatic": [{"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}], "depending": [{"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}], "coded": [{"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}], "lesser": [{"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}], "listening": [{"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it's own."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}], "stream": [{"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}], "contains": [{"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}, {"id": "24", "sentence": "Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'."}, {"id": "27", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}], "57th": [{"id": "13", "sentence": "He designed the publication and identity of the 'Aalto Natives' at the Finnish Pavilion of the 57th Venice Biennale."}], "Nelle": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "Norway": [{"id": "27", "sentence": "The north of Norway is one of the oldest rock formations in the world."}], "forcing": [{"id": "19", "sentence": "Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}], "negative": [{"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}], "Pierre": [{"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}, {"id": "27", "sentence": "There is a little homage to GRM and Pierre Schaeffer on the record."}], "seminar": [{"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}], "Notation": [{"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}], "XY": [{"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}], "ear": [{"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}], "extent": [{"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}], "age": [{"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}], "founder": [{"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}], "seemed": [{"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}], "explorative": [{"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}], "large": [{"id": "04", "sentence": "His websites attract a large audience of over forty million unique visits per year."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}], "sale": [{"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}], "spraying": [{"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}], "central": [{"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "Alarm": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "apartment": [{"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "Harpverk": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "It": [{"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "02", "sentence": "It has a Raspberry Pi sits at its core, and is programmed for several applications."}, {"id": "04", "sentence": "It’s not a matter of an event between spectators and a musician– it’s a space to submit to a process."}, {"id": "05", "sentence": "It is a complex work that nevertheless manages to remain simple and accessible in its final execution."}, {"id": "06", "sentence": "It was presented at Stadslimiet, Antwerp, as an installation piece on 2 Jul 2015."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "It just rang as very poetic to me."}, {"id": "06", "sentence": "It's an iron board and it has the same visuals as the sticker sheets."}, {"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "It's meant to be in a continued state of flux."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}, {"id": "06", "sentence": "It really was a one-time event, with the vinyls functioning as a tool, yes."}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "07", "sentence": "It's strangely hypnotising."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "10", "sentence": "It was a good concert and her way of working fit into our ideas of exploring graphic scores very well."}, {"id": "12", "sentence": "It was particularly of interested to us because of the way in which he focuses on the reproduction of music."}, {"id": "12", "sentence": "It refers to the era of printed music (1500–1900)."}, {"id": "13", "sentence": "It was an investigation into methodologies within his own artistic practice."}, {"id": "14", "sentence": "It completely complimented our thinking around how to imagine the concept of composing and making scores."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}, {"id": "18", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called 'cheironmy'."}, {"id": "20", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "22", "sentence": "It results in very delicate and unconventional chamber music."}, {"id": "22", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}, {"id": "24", "sentence": "The Ping Pong Song)' by Enrique Iglesias 'Doing It Right' by The Go!"}, {"id": "24", "sentence": "Team 'Don't' by Elvis Presley With The Jordanaires 'Don't Dance' by Midas 'Don't Give It Up' by Siobhan Donaghy"}, {"id": "27", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "It doesn't relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "27", "sentence": "It's not iron ore but lignite, 'braunkohle'."}, {"id": "27", "sentence": "It is a vast scar in the landscape, and really an incredible place."}, {"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "27", "sentence": "It is important for companies to manage this."}, {"id": "27", "sentence": "It just turned out that way, perhaps because that's how we generally tend to structure material."}, {"id": "27", "sentence": "It's absurd when you start to think about it."}, {"id": "27", "sentence": "It's not like wind or the sun, which give you immediate energy."}, {"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "27", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "27", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "27", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "27", "sentence": "It created a vacuum after it closed."}, {"id": "27", "sentence": "It's good for the human psyche to be reminded of that."}, {"id": "27", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "27", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "27", "sentence": "It’s a kind of sound alchemy."}, {"id": "29", "sentence": "It is based in Rotterdam in the same area that we operate in."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "Brosi": [{"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Lennox": [{"id": "24", "sentence": "Shena 'Dark Road' by Annie Lennox 'Delivery' by Babyshambles 'Desecration Smile' by Red Hot Chili Peppers 'Destination Calabria' by Alex Gaudino feat."}], "utilize": [{"id": "29", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}], "DRIVE": [{"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}], "Western": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Later on, this developed into the type of musical notation we are familiar with in Western music."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}], "themes": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "24", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "24", "sentence": "According to Kreidler, the action, entitled 'Fremdarbeit', is intended to focus attention on the themes of exploitation and authorship."}], "holes": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "flat-on-your-ass": [{"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}], "Spahlinger": [{"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}], "Specifically": [{"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "Pedersen": [{"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}], "motion": [{"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}], "leader": [{"id": "11", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "18", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}], "frame": [{"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}], "Step": [{"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}], "below": [{"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "27", "sentence": "If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste."}], "experience": [{"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}], "actualisation": [{"id": "06", "sentence": "Coming up with a concept can be as much a creative process as navigating its actualisation."}], "pitch": [{"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}], "encounters": [{"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}], "meant": [{"id": "06", "sentence": "It's meant to be in a continued state of flux."}], "Gwen": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Koninklijk": [{"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}], "missed": [{"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}], "related": [{"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}, {"id": "27", "sentence": "He also expanded his archive with all related logistic processes."}, {"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}], "vs": [{"id": "24", "sentence": "Timbaland 'Another One Bites The Dust' by Queen vs."}], "honest": [{"id": "06", "sentence": "That's quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}], "country": [{"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}], "out": [{"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}, {"id": "06", "sentence": "Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "25", "sentence": "Because she uses and records the archive, the end result almost turns out to be a DJ set."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "27", "sentence": "It just turned out that way, perhaps because that's how we generally tend to structure material."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "27", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "27", "sentence": "In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it ."}, {"id": "27", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}, {"id": "31", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}], "interpretation": [{"id": "06", "sentence": "Yet I felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}, {"id": "30", "sentence": "In that sense, there is never a perfect reproduction but always an interpretation."}], "Efron": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "work/action": [{"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}], "bring": [{"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}, {"id": "27", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "27", "sentence": "In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it ."}], "moths": [{"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "national": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology and national security."}], "heart": [{"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}], "PureData": [{"id": "06", "sentence": "And since I'm a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}], "jukebox": [{"id": "02", "sentence": "Some dare to say that it’s a kind of jukebox."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}], "tradition": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}], "Perhaps": [{"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}], "forget": [{"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}], "Tetra": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "02", "sentence": "We proposed to the students that they devise an issue of our publication Tetra Gamma Circulaire."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}], "blacker": [{"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "quartet": [{"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "This technique of composing is performed by Guðmundur Steinn Gunnarsson and his quartet Fersteinn."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson has been part of DE PLAYER's programme with his quartet Fersteinn several times."}, {"id": "22", "sentence": "This Icelandic quartet plays with little analogue instruments and animation scores Gunnarsson made on his computer."}, {"id": "22", "sentence": "He runs his own multi-instrumentalist quartet called Fersteinn."}], "lenticulars": [{"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}], "outside": [{"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}], "collaboration": [{"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "example": [{"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "As another example, Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}, {"id": "19", "sentence": "For example, his work 'frakativ' is an electronic visual sound poetry performance."}, {"id": "20", "sentence": "In a multicultural situation, abstract sounds are forms of recognition; then there is, for example, music."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}, {"id": "30", "sentence": "This one is a pretty contemporary example and results in great imagery and sound."}], "Maxïmo": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "technology/consumer": [{"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}], "personal": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "25", "sentence": "Her archival approach and its political and personal implications are the starting point of this work."}], "prices": [{"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}, {"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}], "indicator": [{"id": "27", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}], "twenty": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "02", "sentence": "‘Fred Flintstone meets the twenty-first century’, it was referred to as."}, {"id": "06", "sentence": "So the C note runs for tens minutes and the B note is something like five minutes and twenty seconds."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "colours": [{"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "Peter brought six record players, matching the six colours of the vinyl nicely – two notes each."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}], "species": [{"id": "26", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}], "Elvis": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "Team 'Don't' by Elvis Presley With The Jordanaires 'Don't Dance' by Midas 'Don't Give It Up' by Siobhan Donaghy"}], "redesigned": [{"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}], "Trilogy": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Most": [{"id": "09", "sentence": "Most projects are aimed at interaction with an audience (of one or more people)."}, {"id": "21", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "27", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}], "stereotypical": [{"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}], "how": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "14", "sentence": "It completely complimented our thinking around how to imagine the concept of composing and making scores."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "20", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "23", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "It just turned out that way, perhaps because that's how we generally tend to structure material."}, {"id": "27", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "27", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "27", "sentence": "In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it ."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}, {"id": "30", "sentence": "The end titles of many black MIDI videos display how many notes are in the piece."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "absurd": [{"id": "27", "sentence": "It's absurd when you start to think about it."}], "NET": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}], "compositions": [{"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "21", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "21", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}, {"id": "26", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "tools": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "included": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "Helga": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}], "famously": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}], "Rotterdam": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "He is also an art book publisher (Onomatopee, Eindhoven, and WdW Review, Rotterdam)."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "29", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}, {"id": "29", "sentence": "It is based in Rotterdam in the same area that we operate in."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "Portugal": [{"id": "25", "sentence": "Ana Guedes is a multidisciplinary artist from Portugal who lives and works in the Hague."}, {"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}], "intimate": [{"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}], "data.perseus.org/citations/urn": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "dynamic": [{"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "accompanying": [{"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}, {"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}], "15:00": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}], "enlarge": [{"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}], "But": [{"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "But it's still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "But Vaast, for instance, refuses to regard it as his doing."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}, {"id": "23", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}], "regrets": [{"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}], "wanting": [{"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}], "office": [{"id": "06", "sentence": "The office material, those colourful little dots."}, {"id": "24", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}, {"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}, {"id": "31", "sentence": "A huge public announcement system was in the office blazing loud, but very articulated sound."}], "television": [{"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "acousmatic": [{"id": "27", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}], "said": [{"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "DE PLAYER: Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}], "Gourdon": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}], "Zee": [{"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "Debatty": [{"id": "07", "sentence": "— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne."}], "led": [{"id": "11", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "15", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "18", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "21", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}], "condition": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}], "og": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "gather": [{"id": "08", "sentence": "The initiatives gather within a part of the programme called 'Intersections'."}], "disturbances": [{"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "Tell'em": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "Than": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "bigger": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}], "operation": [{"id": "27", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}], "emotions": [{"id": "05", "sentence": "What emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}], "implosions": [{"id": "31", "sentence": "From this perspective, his live performances can also be considered as black mass implosions."}], "produce": [{"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "07", "sentence": "Julia's solo live performances primarily refer to the modified vinyl records that produce extraordinary sounds."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}], "releases": [{"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}, {"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}], "decision": [{"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}], "cracking": [{"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}], "execution": [{"id": "05", "sentence": "It is a complex work that nevertheless manages to remain simple and accessible in its final execution."}, {"id": "05", "sentence": "It is a complex work that nevertheless manages to remain simple and accessible in its final execution."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "13", "sentence": "This encompasses the conceptualisation, the funding and the execution."}, {"id": "13", "sentence": "This encompasses the conceptualisation, the funding and the execution."}], "laut": [{"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}], "rules": [{"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}], "helped": [{"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}], "billion": [{"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}], "intrigued": [{"id": "06", "sentence": "He was intrigued by the invitation, but it took a long time to develop."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}], "definitely": [{"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "Kris Delacourt: Oh, I think it's definitely something that's still evolving."}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "So more drone, definitely."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}], "went": [{"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": ", that I went in that direction."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}], "meeting": [{"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}], "chain": [{"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}], "theory": [{"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}, {"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}], "manageable": [{"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}], "amplify": [{"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}], "boat": [{"id": "27", "sentence": "You have to take a boat to get there."}], "Athena": [{"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "26", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}], "instructed": [{"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "ve": [{"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "So I don’t think I've quite finished with it, no."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}], "today": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}], "Shot": [{"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}], "happening": [{"id": "05", "sentence": "He opens up the artistic field to explore what is happening in the art world."}], "monster": [{"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}], "role": [{"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "20", "sentence": "Signification also plays a major role in this."}, {"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}, {"id": "20", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "20", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "28", "sentence": "The medium of radio still plays a role in arriving at compositions."}], "machines": [{"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}], "Cushh": [{"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}], "Canadian": [{"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}], "Aurelie": [{"id": "27", "sentence": "Mining' by BJ Nilsen, 'Jazz' by Max Franklin and 'Earthquake' by Aurelie Lierman."}], "zone": [{"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}], "occasionally": [{"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "sense": [{"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "27", "sentence": "In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it ."}, {"id": "30", "sentence": "In that sense, there is never a perfect reproduction but always an interpretation."}], "responsible": [{"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}], "Van": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}], "Possibilities": [{"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}], "sonore": [{"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "20", "sentence": "Inspiration comes in the form of vocal poetry, 'poésie sonore' and text-sound composition."}], "magazine": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "02", "sentence": "This is a magazine without any format, with the intention for a new one to be developed each time."}, {"id": "02", "sentence": "All these scores then had to come together in one magazine/object."}, {"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}], "evidenced": [{"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}], "emancipating": [{"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}], "result": [{"id": "02", "sentence": "The result is a combination of several media, which all coexist in a designed concrete object."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "Pretty nonsensical in a way, but it produced a really beautiful, and quite fragile, result."}, {"id": "06", "sentence": "Colson made two booklets in the 'Principium' series – comprised of reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "25", "sentence": "Because she uses and records the archive, the end result almost turns out to be a DJ set."}, {"id": "27", "sentence": "All to get to the desired result: The gold!"}, {"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}], "analogue": [{"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "20", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "22", "sentence": "This Icelandic quartet plays with little analogue instruments and animation scores Gunnarsson made on his computer."}], "feel": [{"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "Does it feel like that for you too: As your first 'real' album, as a statement?"}, {"id": "06", "sentence": "I don't feel this record has that."}], "Universal": [{"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}], "Iraqi": [{"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "Bunton": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "unlikely": [{"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}], "destroys": [{"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}], "relentless": [{"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "repeat": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}], "ball": [{"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}], "Kottke": [{"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "pirate": [{"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "Closer": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Näätämö/Neiden": [{"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}], "audiences": [{"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}], "combination": [{"id": "02", "sentence": "The result is a combination of several media, which all coexist in a designed concrete object."}], "Stephen": [{"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}], "In": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "In this way you would end up with all different records, each one an original."}, {"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "In this way you would end up with all different records, each one an original."}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "In the case of the 'prepared record', the record or musical piece is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "07", "sentence": "In the case of the 'prepared record', the record or musical piece is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "In the eleventh century, Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "In the eleventh century, Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}, {"id": "16", "sentence": "In the early 1960s, the composer Morton Subotnik employed engineer Don Buchla to help him create 'the music of the future'."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "In the early 1960s, the composer Morton Subotnik employed engineer Don Buchla to help him create 'the music of the future'."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "20", "sentence": "In a multicultural situation, abstract sounds are forms of recognition; then there is, for example, music."}, {"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}, {"id": "20", "sentence": "In a multicultural situation, abstract sounds are forms of recognition; then there is, for example, music."}, {"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}, {"id": "22", "sentence": "In that way, the most irregular things can become very intelligible."}, {"id": "22", "sentence": "In that way, the most irregular things can become very intelligible."}, {"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}, {"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope."}, {"id": "27", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope."}, {"id": "27", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "27", "sentence": "In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it ."}, {"id": "27", "sentence": "In practice it's quite mathematical, but it still it is part of the sound world too."}, {"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "27", "sentence": "In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it ."}, {"id": "27", "sentence": "In practice it's quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "30", "sentence": "In that sense, there is never a perfect reproduction but always an interpretation."}, {"id": "30", "sentence": "In that sense, there is never a perfect reproduction but always an interpretation."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}, {"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "Eczema": [{"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "DE PLAYER: The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}], "funding": [{"id": "13", "sentence": "This encompasses the conceptualisation, the funding and the execution."}], "alchemy": [{"id": "27", "sentence": "It’s a kind of sound alchemy."}], "complexity": [{"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}], "tradable": [{"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}], "AURÉLIE": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}], "against": [{"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "27", "sentence": "If you work against it, it will kill you."}], "Enrique": [{"id": "24", "sentence": "The Ping Pong Song)' by Enrique Iglesias 'Doing It Right' by The Go!"}], "Happen": [{"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}], "recreate": [{"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}], "Gods": [{"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "Ward": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "preferred": [{"id": "06", "sentence": "Sometimes I preferred elements because of harmonic information, notes that work well together, sometimes because of rhythms that worked well, etc."}], "0.45": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "flying": [{"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}], "studio": [{"id": "04", "sentence": "His studio work focuses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "His studio focuses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}], "dedicated": [{"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}], "RECORDS": [{"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "25", "sentence": "Ana Guedes' project 'UNTITLED RECORDS' fits into our idea of finding new ways to compose very seamlessly."}], "to": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp-based artists to contribute to the project."}, {"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp-based artists to contribute to the project."}, {"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media to this day."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media to this day."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Some dare to say that it’s a kind of jukebox."}, {"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "02", "sentence": "Some dare to say that it’s a kind of jukebox."}, {"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "02", "sentence": "We proposed to the students that they devise an issue of our publication Tetra Gamma Circulaire."}, {"id": "02", "sentence": "This is a magazine without any format, with the intention for a new one to be developed each time."}, {"id": "02", "sentence": "Each student had to develop their own project around the process of making a score."}, {"id": "02", "sentence": "All these scores then had to come together in one magazine/object."}, {"id": "02", "sentence": "One restriction was decided upon: The scores had to be presented on floppy disc."}, {"id": "02", "sentence": "This was put in place to both limit possibilities and to unite the format."}, {"id": "02", "sentence": "‘Fred Flintstone meets the twenty-first century’, it was referred to as."}, {"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "02", "sentence": "We proposed to the students that they devise an issue of our publication Tetra Gamma Circulaire."}, {"id": "02", "sentence": "This is a magazine without any format, with the intention for a new one to be developed each time."}, {"id": "02", "sentence": "Each student had to develop their own project around the process of making a score."}, {"id": "02", "sentence": "All these scores then had to come together in one magazine/object."}, {"id": "02", "sentence": "One restriction was decided upon: The scores had to be presented on floppy disc."}, {"id": "02", "sentence": "This was put in place to both limit possibilities and to unite the format."}, {"id": "02", "sentence": "‘Fred Flintstone meets the twenty-first century’, it was referred to as."}, {"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}, {"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "It’s not a matter of an event between spectators and a musician– it’s a space to submit to a process."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "It’s not a matter of an event between spectators and a musician– it’s a space to submit to a process."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}, {"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}, {"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}, {"id": "05", "sentence": "We have known Vaast Colson to be an interesting artist for quite some time already."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "05", "sentence": "This print run is to be seen as a performative action."}, {"id": "05", "sentence": "It is a complex work that nevertheless manages to remain simple and accessible in its final execution."}, {"id": "05", "sentence": "We have known Vaast Colson to be an interesting artist for quite some time already."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "05", "sentence": "This print run is to be seen as a performative action."}, {"id": "05", "sentence": "It is a complex work that nevertheless manages to remain simple and accessible in its final execution."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be referred to as 'post-ironic'."}, {"id": "05", "sentence": "Colson's works examine core questions: What power does art have to change us and our society?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "He opens up the artistic field to explore what is happening in the art world."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be referred to as 'post-ironic'."}, {"id": "05", "sentence": "Colson's works examine core questions: What power does art have to change us and our society?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "He opens up the artistic field to explore what is happening in the art world."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}, {"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}, {"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "He was intrigued by the invitation, but it took a long time to develop."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "Interestingly, he thought his resulting collages would be nice to use as scores – and they probably would have been."}, {"id": "06", "sentence": "to him."}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "He was intrigued by the invitation, but it took a long time to develop."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "Interestingly, he thought his resulting collages would be nice to use as scores – and they probably would have been."}, {"id": "06", "sentence": "to him."}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "It just rang as very poetic to me."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "It's meant to be in a continued state of flux."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to Morse code."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job designing the packaging."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, which determines the rhythm."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "That's quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn't stay interesting, it had to go."}, {"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole eight-hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "But it's still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "But Vaast, for instance, refuses to regard it as his doing."}, {"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "DE PLAYER: The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "06", "sentence": "Kris Delacourt: If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "It just rang as very poetic to me."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "It's meant to be in a continued state of flux."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to Morse code."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job designing the packaging."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, which determines the rhythm."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "That's quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn't stay interesting, it had to go."}, {"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole eight-hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "But it's still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "But Vaast, for instance, refuses to regard it as his doing."}, {"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "DE PLAYER: The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "06", "sentence": "Kris Delacourt: If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}, {"id": "07", "sentence": "Julia's solo live performances primarily refer to the modified vinyl records that produce extraordinary sounds."}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}, {"id": "07", "sentence": "Julia's solo live performances primarily refer to the modified vinyl records that produce extraordinary sounds."}, {"id": "07", "sentence": "To complete the event we searched for two completely different approaches to composition."}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}, {"id": "07", "sentence": "To complete the event we searched for two completely different approaches to composition."}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "08", "sentence": "We decided to envision the framework for the installation as a three-dimensional staff to write down music."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "08", "sentence": "We decided to envision the framework for the installation as a three-dimensional staff to write down music."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "However, it was decided to start from the floppy disc as a medium."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the working process."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpart to his own musical input."}, {"id": "09", "sentence": "However, it was decided to start from the floppy disc as a medium."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the working process."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpart to his own musical input."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "10", "sentence": "Varia will host the evening, and explain their ideas and approach to developing the archive."}, {"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "10", "sentence": "Varia will host the evening, and explain their ideas and approach to developing the archive."}, {"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "It was particularly of interested to us because of the way in which he focuses on the reproduction of music."}, {"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}, {"id": "12", "sentence": "It refers to the era of printed music (1500–1900)."}, {"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "It was particularly of interested to us because of the way in which he focuses on the reproduction of music."}, {"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}, {"id": "12", "sentence": "It refers to the era of printed music (1500–1900)."}, {"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "13", "sentence": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}, {"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "13", "sentence": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}, {"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "14", "sentence": "It completely complimented our thinking around how to imagine the concept of composing and making scores."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "14", "sentence": "It completely complimented our thinking around how to imagine the concept of composing and making scores."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "In the early 1960s, the composer Morton Subotnik employed engineer Don Buchla to help him create 'the music of the future'."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "In the early 1960s, the composer Morton Subotnik employed engineer Don Buchla to help him create 'the music of the future'."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "19", "sentence": "For 'Pushing Scores', we invited him to make special work for a limited edition."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "19", "sentence": "For 'Pushing Scores', we invited him to make special work for a limited edition."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}, {"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "20", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "20", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "20", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}, {"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "20", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "20", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "20", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}, {"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "21", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}, {"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "21", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "He also used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "22", "sentence": "He also used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "23", "sentence": "Before God needed to be invented there were man."}, {"id": "23", "sentence": "Before God needed to be invented there were man."}, {"id": "24", "sentence": "Johannes Kreidler is a special case when it comes to composing."}, {"id": "24", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}, {"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}, {"id": "24", "sentence": "According to Kreidler, the action, entitled 'Fremdarbeit', is intended to focus attention on the themes of exploitation and authorship."}, {"id": "24", "sentence": "Johannes Kreidler is a special case when it comes to composing."}, {"id": "24", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}, {"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}, {"id": "24", "sentence": "According to Kreidler, the action, entitled 'Fremdarbeit', is intended to focus attention on the themes of exploitation and authorship."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}, {"id": "24", "sentence": "This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}, {"id": "24", "sentence": "This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}, {"id": "25", "sentence": "Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}, {"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}, {"id": "25", "sentence": "Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}, {"id": "25", "sentence": "Ana Guedes' project 'UNTITLED RECORDS' fits into our idea of finding new ways to compose very seamlessly."}, {"id": "25", "sentence": "Because she uses and records the archive, the end result almost turns out to be a DJ set."}, {"id": "25", "sentence": "This 'other way' to come to sound is an interesting phenomenon."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "25", "sentence": "Ana Guedes' project 'UNTITLED RECORDS' fits into our idea of finding new ways to compose very seamlessly."}, {"id": "25", "sentence": "Because she uses and records the archive, the end result almost turns out to be a DJ set."}, {"id": "25", "sentence": "This 'other way' to come to sound is an interesting phenomenon."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "26", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "26", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "26", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "26", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "27", "sentence": "It doesn't relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "27", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "27", "sentence": "That's why I wanted to have a thread about the regeneration of mining areas."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "One is the waste you make to get to the ore."}, {"id": "27", "sentence": "If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "27", "sentence": "It is important for companies to manage this."}, {"id": "27", "sentence": "It just turned out that way, perhaps because that's how we generally tend to structure material."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "It's absurd when you start to think about it."}, {"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "27", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "27", "sentence": "You have to take a boat to get there."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "27", "sentence": "I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "It's good for the human psyche to be reminded of that."}, {"id": "27", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "27", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "27", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "27", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "27", "sentence": "Through soundwaves geologists are able to map what is underground."}, {"id": "27", "sentence": "There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "27", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "27", "sentence": "All to get to the desired result: The gold!"}, {"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "27", "sentence": "It doesn't relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "27", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "27", "sentence": "That's why I wanted to have a thread about the regeneration of mining areas."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "One is the waste you make to get to the ore."}, {"id": "27", "sentence": "If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "27", "sentence": "It is important for companies to manage this."}, {"id": "27", "sentence": "It just turned out that way, perhaps because that's how we generally tend to structure material."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "It's absurd when you start to think about it."}, {"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "27", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "27", "sentence": "You have to take a boat to get there."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "27", "sentence": "I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "It's good for the human psyche to be reminded of that."}, {"id": "27", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "27", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "27", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "27", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "27", "sentence": "Through soundwaves geologists are able to map what is underground."}, {"id": "27", "sentence": "There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "27", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "27", "sentence": "All to get to the desired result: The gold!"}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}, {"id": "28", "sentence": "When we met we had discussions about several professional subjects and decided to realise a publication."}, {"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}, {"id": "28", "sentence": "When we met we had discussions about several professional subjects and decided to realise a publication."}, {"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}, {"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}, {"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}, {"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}, {"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}, {"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}, {"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}, {"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}, {"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "Varia": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "10", "sentence": "Varia will host the evening, and explain their ideas and approach to developing the archive."}, {"id": "29", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}, {"id": "29", "sentence": "Varia has developed a context and technical environment as a web-based archival publication."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}], "MAMPlayer": [{"id": "30", "sentence": "They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "inspiration": [{"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}], "kitsch": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "exploitation": [{"id": "24", "sentence": "According to Kreidler, the action, entitled 'Fremdarbeit', is intended to focus attention on the themes of exploitation and authorship."}], "soldiers": [{"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}], "Iceland": [{"id": "22", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}], "veins": [{"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "double": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "misuse": [{"id": "06", "sentence": "But it's still a relevant idea to me, this kind of creative misuse."}], "thread": [{"id": "27", "sentence": "That's why I wanted to have a thread about the regeneration of mining areas."}], "increasingly": [{"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}], "abroad.We": [], "figure": [{"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}], "segments": [{"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "He then reassembled these line segments into new shapes and new lines."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "Line segments which he reassembled into new shapes and new lines."}], "intellectual": [{"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}], "tried": [{"id": "07", "sentence": "Until I tried it."}, {"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "27", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}], "complex": [{"id": "05", "sentence": "It is a complex work that nevertheless manages to remain simple and accessible in its final execution."}, {"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "Fair": [{"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}], "ability": [{"id": "25", "sentence": "Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}], "speculated": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "sung": [{"id": "20", "sentence": "It is important here that the language is sung off the usual value of speech."}], "ongoingness": [{"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}], "renderings": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}], "hand": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "26", "sentence": "When the webs are harvested, my hand affects their original form."}], "Martens": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}], "Sat": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}], "Miley": [{"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}], "pointing": [{"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}], "inquiry": [{"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}], "or": [{"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "05", "sentence": "This can be a performance, an object, a book or whatever other form he settles on."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}, {"id": "06", "sentence": "I could have gone for something more 'correct' in terms of concept – I don't know, pure sine waves or something."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "06", "sentence": "I don't think of it as a manifesto or anything."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "In the case of the 'prepared record', the record or musical piece is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (of one or more people)."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "11", "sentence": "A seventh note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "18", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "20", "sentence": "The style and/or genre determine the identity."}, {"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}, {"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}, {"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "21", "sentence": "Gunnarsson's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "21", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "22", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "The composition follows a more or less linear path, starting with 'deep' time."}, {"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "27", "sentence": "The composition follows a more or less linear path – starting with deep time."}, {"id": "27", "sentence": "It's not like wind or the sun, which give you immediate energy."}, {"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "20:00": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}], "Metrostation": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Metrostation Maashaven."}], "99": [{"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}], "alchemic": [{"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}], "Big": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "look": [{"id": "06", "sentence": "Kris Delacourt: I do look at it as a solo thing."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}], "JULIA": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne."}], "lecture-form": [{"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}], "Ultima": [{"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "Therefore": [{"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}], "flapping": [{"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}], "democratic": [{"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}], "selecting": [{"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}], "Partiro": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "fully": [{"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}], "rhythm": [{"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, which determines the rhythm."}, {"id": "13", "sentence": "He sees it as punk, experimental, noise, investigative and critical, searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}], "aan": [{"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "holders": [{"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}], "multi-instrumentalist": [{"id": "22", "sentence": "He runs his own multi-instrumentalist quartet called Fersteinn."}], "programmable": [{"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}], "shipped": [{"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}], "Bones": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Portapak": [{"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}], "Kristoffer": [{"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}], "vocal": [{"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "11", "sentence": "For this multi-vocal composition, Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "20", "sentence": "Inspiration comes in the form of vocal poetry, 'poésie sonore' and text-sound composition."}], "Nam": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "frikativ": [{"id": "19", "sentence": "The performance 'frikativ' is real-time generated visual and sound poetry."}], "low-wage": [{"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}], "two-in-one": [{"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}], "Goodiepal": [{"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}], "reformulation": [{"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}], "Greek": [{"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}], "decide": [{"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}], "VANHOOF": [{"id": "04", "sentence": "FLORIS VANHOOF (BE) Floris Vanhoof is a filmmaker and musician from Belgium."}], "poisonous": [{"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}], "twentieth": [{"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "transformed": [{"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}], "curves": [{"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}], "Whether": [{"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}], "eight-hour": [{"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "Were there people who actually listened to the whole eight-hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}], "nearly": [{"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}], "gets": [{"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}], "1991": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}], "transpose": [{"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}], "size": [{"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}], "stories": [{"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}], "BENNETT": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "JUSTIN BENNETT (UK) Justin Bennett is an artist working with sound and visual media."}], "Valentino": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Synthesis": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}], "attuned": [{"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}], "controls": [{"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}], "grid": [{"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "21", "sentence": "Gunnarsson's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}], "background": [{"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}, {"id": "29", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}], "gesture": [{"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}, {"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "rigid": [{"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "21", "sentence": "Gunnarsson's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}], "ore.'": [], "expressions": [{"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "subversive": [{"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}], "rendition": [{"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}], "long-duration": [{"id": "31", "sentence": "Spectral Arrows' is an ongoing series of long-duration performances for guitar and electronics."}], "interfaces": [{"id": "01", "sentence": "The 'E-ARTHHA' event is about the search for new interfaces and possibilities for sound composition, image and performance."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "Currently, Kahn is researching new interfaces and possibilities of sound composition, image and performance."}], "avant-gardists": [{"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}], "PDF": [{"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}], "lasting": [{"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}], "Desecration": [{"id": "24", "sentence": "Shena 'Dark Road' by Annie Lennox 'Delivery' by Babyshambles 'Desecration Smile' by Red Hot Chili Peppers 'Destination Calabria' by Alex Gaudino feat."}], "Joseph": [{"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}], "1978": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}], "recorded": [{"id": "05", "sentence": "The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded."}, {"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "28", "sentence": "Since the beginning of his practice, he has made extensive use of recorded sound."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}], "vertical": [{"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "passage": [{"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "creates": [{"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Software being processed creates its own temporal and spatial dimensions, which are staged for a public."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "24", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "This creates strong graphic works and partly blackens out the original score."}], "reception": [{"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}], "Furtado": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}], "dimensions": [{"id": "10", "sentence": "Software being processed creates its own temporal and spatial dimensions, which are staged for a public."}, {"id": "29", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}], "fa": [{"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}], "sees": [{"id": "13", "sentence": "He sees it as punk, experimental, noise, investigative and critical, searching for dissonance and ordering of information, for rhythm and tonality."}], "foreign": [{"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}], "processed": [{"id": "10", "sentence": "Software being processed creates its own temporal and spatial dimensions, which are staged for a public."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}], "0.35": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "forms": [{"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "20", "sentence": "In a multicultural situation, abstract sounds are forms of recognition; then there is, for example, music."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}, {"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "27", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them ."}], "silence": [{"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "23", "sentence": "I think silence has that same relation with music."}], "Stereolab": [{"id": "01", "sentence": "The work is voiced by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "The piece is voiced by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "For this multi-vocal composition, Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}], "works": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "These works deal with continuity and endless accessibility."}, {"id": "05", "sentence": "Colson's works examine core questions: What power does art have to change us and our society?"}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The usual code of the record, as defined by the music industry, was broken in all works."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "15", "sentence": "Holzer often works through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "21", "sentence": "Fersteinn works with the method of so-called 'animation'."}, {"id": "24", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "24", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}, {"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}, {"id": "25", "sentence": "Ana Guedes is a multidisciplinary artist from Portugal who lives and works in the Hague."}, {"id": "25", "sentence": "She works with sound, video, installation and performance."}, {"id": "27", "sentence": "For this event, Kahn did some kind of improvisation session on the works of the three invited artists."}, {"id": "28", "sentence": "Duncan also often works with Carl Michael Hausswolff, who is an expert in EVP."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}, {"id": "31", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "guarantees": [{"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}], "origin": [{"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}], "Feist": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Wombats": [{"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}], "spot": [{"id": "10", "sentence": "Her score was made on the spot with programming language; a sort of live coding."}, {"id": "29", "sentence": "On the spot, the audience could activate the UNI."}], "fourth": [{"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}], "resulting": [{"id": "06", "sentence": "Interestingly, he thought his resulting collages would be nice to use as scores – and they probably would have been."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}], "having": [{"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}], "law": [{"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}], "Davide": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}], "disciplines": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "wailing": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "addition": [{"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}], "artistry": [{"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}], "test": [{"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to Morse code."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the working process."}, {"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "27", "sentence": "This was part of a test production of around 30,000 tons."}], "Patrick": [{"id": "24", "sentence": "Patrick Stump 'Curvy Cola Bottle Body' by Chico 'D.A.N.C.E."}], "gave": [{"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}], "beat": [{"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}], "Michael": [{"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}, {"id": "28", "sentence": "Duncan also often works with Carl Michael Hausswolff, who is an expert in EVP."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "French": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}], "geologists": [{"id": "27", "sentence": "Through soundwaves geologists are able to map what is underground."}], "LIERMAN": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}], "multi-arm": [{"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}], "documenting": [{"id": "06", "sentence": "Yet I felt like making another interpretation of an existing piece, instead of merely documenting it."}], "mostly": [{"id": "24", "sentence": "His way of composing has a multimedia conceptual approach, which is mostly linked with processes in society."}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "27", "sentence": "I had hundreds of cassette tapes, mostly TDK."}], "Circulaire": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "02", "sentence": "We proposed to the students that they devise an issue of our publication Tetra Gamma Circulaire."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}], "simultaneous": [{"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}], "tracing": [{"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}], "Curran": [{"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "ignores": [{"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}], "work": [{"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "The work is voiced by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "The work is voiced by Laetitia Saedier of Stereolab."}, {"id": "04", "sentence": "Every aspect of his work deals with the quality of sound."}, {"id": "04", "sentence": "For this event he will work with a film projection and a synthesizer, which he influences with his brainwaves."}, {"id": "04", "sentence": "At every level of detail, the everyday sound of our urban surroundings is the focus of his work."}, {"id": "04", "sentence": "His studio work focuses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "Every aspect of his work deals with the quality of sound."}, {"id": "04", "sentence": "For this event he will work with a film projection and a synthesizer, which he influences with his brainwaves."}, {"id": "04", "sentence": "At every level of detail, the everyday sound of our urban surroundings is the focus of his work."}, {"id": "04", "sentence": "His studio work focuses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "05", "sentence": "It is a complex work that nevertheless manages to remain simple and accessible in its final execution."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "05", "sentence": "It is a complex work that nevertheless manages to remain simple and accessible in its final execution."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}, {"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "Sometimes I preferred elements because of harmonic information, notes that work well together, sometimes because of rhythms that worked well, etc."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "Sometimes I preferred elements because of harmonic information, notes that work well together, sometimes because of rhythms that worked well, etc."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it's use as a technology within her work."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it's use as a technology within her work."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "11", "sentence": "The work consists of two parts: 1."}, {"id": "11", "sentence": "An interactive graphic score/light box/kinetic work fixed inside the cabinet, and 2."}, {"id": "11", "sentence": "The work consists of two parts: 1."}, {"id": "11", "sentence": "An interactive graphic score/light box/kinetic work fixed inside the cabinet, and 2."}, {"id": "11", "sentence": "The work was installed for a period at The Small Museum – a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "The work was installed for a period at The Small Museum – a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}, {"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}, {"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "19", "sentence": "For example, his work 'frakativ' is an electronic visual sound poetry performance."}, {"id": "19", "sentence": "For example, his work 'frakativ' is an electronic visual sound poetry performance."}, {"id": "19", "sentence": "For 'Pushing Scores', we invited him to make special work for a limited edition."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "19", "sentence": "For 'Pushing Scores', we invited him to make special work for a limited edition."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "22", "sentence": "The idea of 'anitation' and the work of Guðmundur Steinn Gunnarsson fits perfectly within 'Pushing Scores'."}, {"id": "22", "sentence": "The idea of 'anitation' and the work of Guðmundur Steinn Gunnarsson fits perfectly within 'Pushing Scores'."}, {"id": "24", "sentence": "His work is described as conceptual music."}, {"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}, {"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}, {"id": "24", "sentence": "His work is described as conceptual music."}, {"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}, {"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}, {"id": "25", "sentence": "Her archival approach and its political and personal implications are the starting point of this work."}, {"id": "25", "sentence": "Her archival approach and its political and personal implications are the starting point of this work."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}, {"id": "27", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}, {"id": "27", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "You can only survive there if you work with nature."}, {"id": "27", "sentence": "If you work against it, it will kill you."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "You can only survive there if you work with nature."}, {"id": "27", "sentence": "If you work against it, it will kill you."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}, {"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}, {"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "cliché": [{"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}], "installations": [{"id": "02", "sentence": "TGC#3 is a particular kind of publishing platform engineered for sonic experiments, instruments and installations."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}], "returned": [{"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}], "Methi": [{"id": "27", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}], "2313": [{"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}], "executed": [{"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}], "Faulkner": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Mesias": [{"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}], "well-known": [{"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}], "Al2O3": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "forming": [{"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}], "Wrote": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "bases": [{"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}], "presenting": [{"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "22", "sentence": "This often requires presenting the music as moving graphics on computer screens."}], "do": [{"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "How do you do that?"}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "Kris Delacourt: You do it in short sessions, hah."}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "How do you perceive the function a piece of vinyl can have?"}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "Kris Delacourt: I do look at it as a solo thing."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "Kris Delacourt: I certainly do hope that it's enjoyable."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}], "Audio": [{"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}], "Dr": [{"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}], "XXXIII": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "here": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "20", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "recognisable": [{"id": "06", "sentence": "Does this sound recognisable to you?"}], "Darmstädt": [{"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}], "metre": [{"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}], "gallery": [{"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "ephemera": [{"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}], "co-founder": [{"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}], "counter-energy": [{"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}], "Don": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "16", "sentence": "In the early 1960s, the composer Morton Subotnik employed engineer Don Buchla to help him create 'the music of the future'."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "Team 'Don't' by Elvis Presley With The Jordanaires 'Don't Dance' by Midas 'Don't Give It Up' by Siobhan Donaghy"}], "Reconstruction": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}], "landed": [{"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}], "street": [{"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}], "choices": [{"id": "05", "sentence": "What emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}], "Amsterdam": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The work was installed for a period at The Small Museum – a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer based in Amsterdam."}, {"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "Beuys": [{"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}], "Cradle": [{"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}], "roster": [{"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}], "xenotime": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "application": [{"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "07", "sentence": "All had worked with the medium of the vinyl record and added a new use/application."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}], "There": [{"id": "06", "sentence": "There's something appealing in using a single octave as a building block."}, {"id": "06", "sentence": "There’s something appealing in the number twelve even, and there's the appeal of building instruments too."}, {"id": "06", "sentence": "Kris Delacourt: There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "There's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "There's something appealing in using a single octave as a building block."}, {"id": "06", "sentence": "There’s something appealing in the number twelve even, and there's the appeal of building instruments too."}, {"id": "06", "sentence": "Kris Delacourt: There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "There's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}, {"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}, {"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}, {"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "27", "sentence": "There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "27", "sentence": "There is a little homage to GRM and Pierre Schaeffer on the record."}], "Iraq": [{"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}], "Come": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "laid": [{"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}], "he": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}, {"id": "04", "sentence": "For this event he will work with a film projection and a synthesizer, which he influences with his brainwaves."}, {"id": "04", "sentence": "Within it, he develops the reciprocity of music and architecture, and of sound and image."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "04", "sentence": "They are cheap dummy books, onto which he poured ink in several colors."}, {"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}, {"id": "05", "sentence": "This can be a performance, an object, a book or whatever other form he settles on."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "Interestingly, he thought his resulting collages would be nice to use as scores – and they probably would have been."}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "The interview was conducted after he exhibited 'Principium 2.0' in an installation setting at Stadslimiet, Antwerp."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "Line segments which he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpart to his own musical input."}, {"id": "11", "sentence": "The invitation was perfectly suited for a project in public space that he had in mind for 'Pushing Scores'."}, {"id": "12", "sentence": "It was particularly of interested to us because of the way in which he focuses on the reproduction of music."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "19", "sentence": "For this he developed specific software that generates poetry in spoken-word form."}, {"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}, {"id": "24", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "24", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}, {"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}, {"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "27", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "27", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope."}, {"id": "27", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}, {"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}, {"id": "28", "sentence": "Since the beginning of his practice, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}], "inserted": [{"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}], "Hurk": [{"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}], "speech": [{"id": "20", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "20", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}], "Innovation": [{"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "hacking": [{"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}], "displayed": [{"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}], "scripture": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}], "Axle": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "universal": [{"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}], "theories": [{"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}], "named": [{"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "24", "sentence": "Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}], "image": [{"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "The 'E-ARTHHA' event is about the search for new interfaces and possibilities for sound composition, image and performance."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "Within it, he develops the reciprocity of music and architecture, and of sound and image."}, {"id": "05", "sentence": "The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself."}, {"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "27", "sentence": "Currently, Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "27", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}], "World": [{"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}], "nomadic": [{"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}], "little": [{"id": "06", "sentence": "The office material, those colourful little dots."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "Well, a little… Two years, actually."}, {"id": "22", "sentence": "This Icelandic quartet plays with little analogue instruments and animation scores Gunnarsson made on his computer."}, {"id": "27", "sentence": "There is a little homage to GRM and Pierre Schaeffer on the record."}], "servant": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}], "far": [{"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}], "participated": [{"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}], "dated": [{"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "Gun": [{"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}], "deck": [{"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}], "Bing": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "misdirected": [{"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "complicated": [{"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}, {"id": "26", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}], "instead": [{"id": "06", "sentence": "Yet I felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "21", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "27", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}], "nothing": [{"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}], "Pinkie": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp-based artists to contribute to the project."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "yet": [{"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "23", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "extract": [{"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "cards": [{"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "converted": [{"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}], "Na2O": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "thirty-three": [{"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}], "2002": [{"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}], "feeds": [{"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}], "her": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it's use as a technology within her work."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "It was a good concert and her way of working fit into our ideas of exploring graphic scores very well."}, {"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "26", "sentence": "She presented her project entitled 'Arachnes Sonifier', in which she captures and makes audible spider webs."}, {"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}, {"id": "26", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}], "practitioners": [{"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}], "tenuous": [{"id": "26", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}], "enough": [{"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "27", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}], "solfège": [{"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}], "Killers": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "More": [{"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}], "Theories": [{"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}], "identities": [{"id": "04", "sentence": "His studio work focuses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "His studio focuses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}], "Liar": [{"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}], "At": [{"id": "04", "sentence": "At every level of detail, the everyday sound of our urban surroundings is the focus of his work."}, {"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "06", "sentence": "At least, that's where the initial form and the name came from."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "12", "sentence": "At the time of writing it would have been quite prophetic."}, {"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}], "integration": [{"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}], "continued": [{"id": "06", "sentence": "It's meant to be in a continued state of flux."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}], "research": [{"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016, 2017 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "09", "sentence": "As another example, Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology and national security."}, {"id": "25", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}], "once-current": [{"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}], "Amazing": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "self-invented": [{"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}], "fit": [{"id": "10", "sentence": "It was a good concert and her way of working fit into our ideas of exploring graphic scores very well."}, {"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}], "current": [{"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "So what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "20", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}], "Bubbly": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "myself": [{"id": "06", "sentence": "And since I'm a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}], "originates": [{"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}], "artists": [{"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp-based artists to contribute to the project."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be referred to as 'post-ironic'."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "27", "sentence": "For this event, Kahn did some kind of improvisation session on the works of the three invited artists."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}, {"id": "31", "sentence": "For this we published 8\" records with artists and labels."}], "conceptualisation": [{"id": "13", "sentence": "This encompasses the conceptualisation, the funding and the execution."}], "government": [{"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology and national security."}], "500": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "poured": [{"id": "04", "sentence": "They are cheap dummy books, onto which he poured ink in several colors."}], "ti": [{"id": "11", "sentence": "A seventh note, 'si' or 'ti', was added later."}], "originators": [{"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}], "worrying": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}], "According": [{"id": "24", "sentence": "According to Kreidler, the action, entitled 'Fremdarbeit', is intended to focus attention on the themes of exploitation and authorship."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "pop": [{"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}], "tactics": [{"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}], "exchange": [{"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}], "harmonic": [{"id": "06", "sentence": "Sometimes I preferred elements because of harmonic information, notes that work well together, sometimes because of rhythms that worked well, etc."}], "Caribbean": [{"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}], "Nuur": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "harbour": [{"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "vital": [{"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}], "gallium": [{"id": "27", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics."}], "aspect": [{"id": "04", "sentence": "Every aspect of his work deals with the quality of sound."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}], "territory": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}], "Kagel": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}], "Julian": [{"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}], "lectures": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}], "culture": [{"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "similar": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "27", "sentence": "It gives them an image, a bit similar to sonar."}], "narratives": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}], "electro-instrumental": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "visually": [{"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}], "micro-capacitors": [{"id": "27", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics."}], "shows": [{"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}], "BÜNNAGEL": [{"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne."}], "quantums": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "Eventually": [{"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}], "sampled": [{"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}], "after": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "The interview was conducted after he exhibited 'Principium 2.0' in an installation setting at Stadslimiet, Antwerp."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "18", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called 'cheironmy'."}, {"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "27", "sentence": "It created a vacuum after it closed."}], "looks": [{"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}], "paintwork": [{"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}], "fall": [{"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}], "late": [{"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}], "trace": [{"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "record": [{"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "Peter brought six record players, matching the six colours of the vinyl nicely – two notes each."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "DE PLAYER: Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "DE PLAYER: The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "DE PLAYER: Do you see this as a drone record?"}, {"id": "06", "sentence": "Or as a collage record?"}, {"id": "06", "sentence": "I don't feel this record has that."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "In the case of the 'prepared record', the record or musical piece is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "07", "sentence": "All had worked with the medium of the vinyl record and added a new use/application."}, {"id": "07", "sentence": "The usual code of the record, as defined by the music industry, was broken in all works."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "13", "sentence": "Remco van Bladel grew up in the record store of his father."}, {"id": "19", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}, {"id": "22", "sentence": "We also produced a limited polyurethane record with Fersteinn."}, {"id": "24", "sentence": "Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "27", "sentence": "There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}], "Smile": [{"id": "24", "sentence": "Shena 'Dark Road' by Annie Lennox 'Delivery' by Babyshambles 'Desecration Smile' by Red Hot Chili Peppers 'Destination Calabria' by Alex Gaudino feat."}], "goal": [{"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "arranged": [{"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}], "refer": [{"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "07", "sentence": "Julia's solo live performances primarily refer to the modified vinyl records that produce extraordinary sounds."}], "Anitation": [{"id": "22", "sentence": "Anitation' is the term for animated notation."}], "origins": [{"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}], "third": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "publisher": [{"id": "04", "sentence": "He is also an art book publisher (Onomatopee, Eindhoven, and WdW Review, Rotterdam)."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}], "Mead": [{"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}], "plucks": [{"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}], "English-language": [{"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "electronic": [{"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "07", "sentence": "TELCOSYSTEMS (NL) Telcosystems presents 'Resonanz', an electronic book combining a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "With 'Resonanz', Telcosystems presents an electronic book that combines a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "Resonanz' is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}, {"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "19", "sentence": "For example, his work 'frakativ' is an electronic visual sound poetry performance."}, {"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}, {"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "February": [{"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}], "Later": [{"id": "01", "sentence": "Later on, this developed into the type of musical notation we are familiar with in Western music."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}], "Amersfoort": [{"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer based in Amsterdam."}], "station": [{"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}], "lives": [{"id": "25", "sentence": "Ana Guedes is a multidisciplinary artist from Portugal who lives and works in the Hague."}, {"id": "27", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}], "easy": [{"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it's own."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}], "communicated": [{"id": "20", "sentence": "Cultural identity is therefore communicated through this."}], "urban": [{"id": "04", "sentence": "At every level of detail, the everyday sound of our urban surroundings is the focus of his work."}], "risk": [{"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "Triple": [{"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}], "Together": [{"id": "06", "sentence": "Together, all twelve records form the complete set, which one 'game' requires."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}], "trickster": [{"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}], "weird": [{"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}], "unplayable": [{"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "single": [{"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "There's something appealing in using a single octave as a building block."}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "expectation": [{"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}], "Dashper": [{"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}], "pretty": [{"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "30", "sentence": "This one is a pretty contemporary example and results in great imagery and sound."}], "extra-musical": [{"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}], "misplaced": [{"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "fiercely": [{"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}], "DOUGLAS": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}], "Institutions": [{"id": "27", "sentence": "Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34."}], "Hard-Fi": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Team": [{"id": "24", "sentence": "Team 'Don't' by Elvis Presley With The Jordanaires 'Don't Dance' by Midas 'Don't Give It Up' by Siobhan Donaghy"}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "produced": [{"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "06", "sentence": "Pretty nonsensical in a way, but it produced a really beautiful, and quite fragile, result."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "19", "sentence": "Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "22", "sentence": "We also produced a limited polyurethane record with Fersteinn."}, {"id": "24", "sentence": "Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}], "effort": [{"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}], "tempo": [{"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}], "speak": [{"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to Morse code."}, {"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}], "noise": [{"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}, {"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "10", "sentence": "By writing choreographies for software and computer elements, she utilises these technologies as actors in software/noise pieces for, and in, computers."}, {"id": "13", "sentence": "He sees it as punk, experimental, noise, investigative and critical, searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "building": [{"id": "06", "sentence": "There's something appealing in using a single octave as a building block."}, {"id": "06", "sentence": "There’s something appealing in the number twelve even, and there's the appeal of building instruments too."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}, {"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}], "community": [{"id": "06", "sentence": "Join the community."}, {"id": "26", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "What is the relationship between the sounds of mining and the community that surrounds them?"}, {"id": "27", "sentence": "How much influence does it have on a community?"}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}], "seek": [{"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}], "Burn": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Along": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "G": [{"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}], "tangibility": [{"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}], "silk": [{"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}], "heard": [{"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "generators": [{"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}], "Jetset": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "risk-free": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "survival": [{"id": "07", "sentence": "It is nessecary for evolution and survival."}], "MAT": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}], "Yuki": [{"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}], "Bed": [{"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}], "belongs": [{"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be referred to as 'post-ironic'."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "carrier": [{"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}], "official": [{"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}], "considered": [{"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}, {"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "31", "sentence": "From this perspective, his live performances can also be considered as black mass implosions."}], "ANA": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}], "score/light": [{"id": "11", "sentence": "An interactive graphic score/light box/kinetic work fixed inside the cabinet, and 2."}], "configurations": [{"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}], "asking": [{"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}], "Start": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Pendulum": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Mobil": [{"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}], "Every": [{"id": "04", "sentence": "Every aspect of his work deals with the quality of sound."}], "Blag": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "rare": [{"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}], "engraved": [{"id": "05", "sentence": "The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself."}], "Italian": [{"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}], "tiny": [{"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}], "Hailing": [{"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}], "Where": [{"id": "27", "sentence": "Where does mining stop?"}, {"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "performs": [{"id": "21", "sentence": "Fersteinn usually performs in the quietest of settings."}], "exist": [{"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}], "sites": [{"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}], "ancient": [{"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}], "passive": [{"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "monastery": [{"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}], "Placements": [{"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}, {"id": "24", "sentence": "Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}], "exposed": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "first": [{"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "02", "sentence": "‘Fred Flintstone meets the twenty-first century’, it was referred to as."}, {"id": "06", "sentence": "We first encountered 'Principium 1.0'."}, {"id": "06", "sentence": "As mentioned, the first version was a modified Casio keyboard."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "DE PLAYER: Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "Does it feel like that for you too: As your first 'real' album, as a statement?"}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "Resonanz' is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "11", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}, {"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "18", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called 'cheironmy'."}, {"id": "18", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "26", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "wealth": [{"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}], "Acrylic": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "beautifully": [{"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}], "leave": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}], "Rotterdam/Van": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "psychological": [{"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}], "Despite": [{"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}], "clients": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "homage": [{"id": "27", "sentence": "There is a little homage to GRM and Pierre Schaeffer on the record."}], "experienced": [{"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}], "science": [{"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}], "Festival": [{"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}], "platter": [{"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}], "toys": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "procedure": [{"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "slivers": [{"id": "27", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}], "there": [{"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in the number twelve even, and there's the appeal of building instruments too."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "Were there people who actually listened to the whole eight-hour performance?"}, {"id": "06", "sentence": "Kris Delacourt: There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}, {"id": "06", "sentence": "I guess I am aiming for the best of both worlds there."}, {"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}, {"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "20", "sentence": "In a multicultural situation, abstract sounds are forms of recognition; then there is, for example, music."}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "23", "sentence": "Before God needed to be invented there were man."}, {"id": "23", "sentence": "Before language there was the song."}, {"id": "23", "sentence": "Before the song there was the yodel,' As Bart Plantenga stated in his reading on yodeling."}, {"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "27", "sentence": "The mountain just sits there."}, {"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "27", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "27", "sentence": "She still stores coal there in a small outhouse (called 'kullbingen')."}, {"id": "27", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "27", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "27", "sentence": "You have to take a boat to get there."}, {"id": "27", "sentence": "We have a tunnel that leads there."}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "You can only survive there if you work with nature."}, {"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}, {"id": "30", "sentence": "In that sense, there is never a perfect reproduction but always an interpretation."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}], "seconds": [{"id": "06", "sentence": "So the C note runs for tens minutes and the B note is something like five minutes and twenty seconds."}], "Quietude": [{"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "predilection": [{"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}], "Cupid": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "Ylva": [{"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}], "determined": [{"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}], "Keane": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Clean": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "shifted": [{"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}], "interweaving": [{"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}], "De": [{"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}], "Also": [{"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}], "major": [{"id": "06", "sentence": "The improvisation might be one of the major flaws, actually, conceptually speaking."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "20", "sentence": "Signification also plays a major role in this."}, {"id": "20", "sentence": "The analogue and virtual voice play a major role in this."}], "sort": [{"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "10", "sentence": "Her score was made on the spot with programming language; a sort of live coding."}, {"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}], "François": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}], "Tom": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "abroad": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}], "Mellotron": [{"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}], "deal": [{"id": "04", "sentence": "These works deal with continuity and endless accessibility."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}], "mythology": [{"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "26", "sentence": "Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}], "Following": [{"id": "24", "sentence": "Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'."}], "publication": [{"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "02", "sentence": "We proposed to the students that they devise an issue of our publication Tetra Gamma Circulaire."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "TELCOSYSTEMS (NL) Telcosystems presents 'Resonanz', an electronic book combining a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "With 'Resonanz', Telcosystems presents an electronic book that combines a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "13", "sentence": "He designed the publication and identity of the 'Aalto Natives' at the Finnish Pavilion of the 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "When we met we had discussions about several professional subjects and decided to realise a publication."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "29", "sentence": "Varia has developed a context and technical environment as a web-based archival publication."}], "respond": [{"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}], "Size": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "confront": [{"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}], "filtering": [{"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}], "instrument-builder": [{"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}], "superfast": [{"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}], "complete": [{"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "06", "sentence": "The final installation will have twelve separate pieces: A complete octave."}, {"id": "06", "sentence": "Together, all twelve records form the complete set, which one 'game' requires."}, {"id": "07", "sentence": "To complete the event we searched for two completely different approaches to composition."}], "aspects": [{"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}], "McCartney": [{"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}], "invented": [{"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}, {"id": "23", "sentence": "Before God needed to be invented there were man."}], "DE": [{"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}, {"id": "06", "sentence": "DE PLAYER: Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "06", "sentence": "DE PLAYER: The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "DE PLAYER: Do you see this as a drone record?"}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson has been part of DE PLAYER's programme with his quartet Fersteinn several times."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "imagine": [{"id": "14", "sentence": "It completely complimented our thinking around how to imagine the concept of composing and making scores."}], "installation": [{"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}, {"id": "06", "sentence": "The final installation will have twelve separate pieces: A complete octave."}, {"id": "06", "sentence": "It was presented at Stadslimiet, Antwerp, as an installation piece on 2 Jul 2015."}, {"id": "06", "sentence": "The interview was conducted after he exhibited 'Principium 2.0' in an installation setting at Stadslimiet, Antwerp."}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "08", "sentence": "We decided to envision the framework for the installation as a three-dimensional staff to write down music."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "25", "sentence": "She works with sound, video, installation and performance."}, {"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "environment": [{"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "26", "sentence": "The sonification of spider webs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "27", "sentence": "Listening underground is like reading the environment."}, {"id": "29", "sentence": "Varia has developed a context and technical environment as a web-based archival publication."}], "scar": [{"id": "27", "sentence": "It is a vast scar in the landscape, and really an incredible place."}], "cabinet": [{"id": "11", "sentence": "An interactive graphic score/light box/kinetic work fixed inside the cabinet, and 2."}, {"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "The work was installed for a period at The Small Museum – a cabinet on the facade of Paradiso, Amsterdam."}], "flattered": [{"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}], "exhausted": [{"id": "27", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}], "Witte": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "Patrol": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "scoring": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "amount": [{"id": "27", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}], "Two": [{"id": "06", "sentence": "Well, a little… Two years, actually."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}], "perception": [{"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}], "Sozzi": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Ziolkowski": [{"id": "27", "sentence": "Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34."}], "canvas": [{"id": "04", "sentence": "RAFAËL ROZENDAAL (NL) Rafaël Rozendaal is a visual artist who uses the Internet as his canvas."}], "Evelin": [{"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "dating": [{"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}], "sleep": [{"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}], "digital": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}], "nouveauté": [{"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}], "Wrecking": [{"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}], "mythologising": [{"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}], "input": [{"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "07", "sentence": "Julia Bünnagel was also invited, under the guise of contributing a more physical input."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpart to his own musical input."}], "U.N": [{"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}], "techniques": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}], "well": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Sometimes I preferred elements because of harmonic information, notes that work well together, sometimes because of rhythms that worked well, etc."}, {"id": "06", "sentence": "Kris Delacourt: The 10\" records have all been sold as well, so they sit somewhere in the middle."}, {"id": "06", "sentence": "They were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "10", "sentence": "It was a good concert and her way of working fit into our ideas of exploring graphic scores very well."}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "1926–5": [{"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}], "TheTrustedComputer": [{"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "landscape": [{"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "27", "sentence": "It is a vast scar in the landscape, and really an incredible place."}, {"id": "27", "sentence": "I'm very interested in the hidden layers and history the landscape."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "27", "sentence": "The landscape is fairly untouched, it is scarcely populated, it's desolate."}], "era": [{"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "12", "sentence": "It refers to the era of printed music (1500–1900)."}, {"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}], "quotations": [{"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}], "resonance": [{"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}], "directors": [{"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}], "Tøyen": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "parameters": [{"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}], "Technocultural": [{"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "flow": [{"id": "06", "sentence": "Art is letting things go, let it flow."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}, {"id": "27", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}], "intertwine": [{"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}], "menace": [{"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}], "methodologies": [{"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "13", "sentence": "It was an investigation into methodologies within his own artistic practice."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}], "Producer": [{"id": "30", "sentence": "They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "Coming": [{"id": "06", "sentence": "Coming up with a concept can be as much a creative process as navigating its actualisation."}, {"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}], "Anthem": [{"id": "24", "sentence": "The Miami Project 'Anthem' by Filo & Peri feat."}], "sharing": [{"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "26", "sentence": "Knowledge sharing across traditions has often taken place through oral mythology."}], "B": [{"id": "06", "sentence": "So the C note runs for tens minutes and the B note is something like five minutes and twenty seconds."}], "Serge": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}], "searched": [{"id": "07", "sentence": "To complete the event we searched for two completely different approaches to composition."}, {"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "desire": [{"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}], "non-profit": [{"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "Seasons": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "slag": [{"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}], "Platinum": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Steinn": [{"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "21", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "22", "sentence": "This technique of composing is performed by Guðmundur Steinn Gunnarsson and his quartet Fersteinn."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson has been part of DE PLAYER's programme with his quartet Fersteinn several times."}, {"id": "22", "sentence": "The idea of 'anitation' and the work of Guðmundur Steinn Gunnarsson fits perfectly within 'Pushing Scores'."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}], "Barbie": [{"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}], "irregular": [{"id": "22", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "22", "sentence": "In that way, the most irregular things can become very intelligible."}], "multi-vocal": [{"id": "11", "sentence": "For this multi-vocal composition, Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}], "joyful": [{"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}], "phonic": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "24", "sentence": "This piece is to be seen as a plunder phonic composition in extremis."}], "becoming": [{"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}], "items": [{"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}], "travelling": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "Allen": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Price": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "AEX": [{"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}], "What": [{"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "05", "sentence": "Colson's works examine core questions: What power does art have to change us and our society?"}, {"id": "05", "sentence": "What emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "What was the problem?"}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "27", "sentence": "What is the relationship between the sounds of mining and the community that surrounds them?"}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "27", "sentence": "What shifts will we see?"}, {"id": "27", "sentence": "What shifts happened in the past?"}], "shortwave": [{"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "remotely": [{"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "markers": [{"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}], "actually": [{"id": "06", "sentence": "Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "Well, a little… Two years, actually."}, {"id": "06", "sentence": "Were there people who actually listened to the whole eight-hour performance?"}, {"id": "06", "sentence": "The improvisation might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "Quite the contrary, actually."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "Far down in the Earth the rock is actually moving."}], "Markus": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "interest": [{"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "Kiem": [{"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}], "transposes": [{"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}], "Geologists": [{"id": "27", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "27", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}], "Eric": [{"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}], "document": [{"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "Bute": [{"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}], "Were": [{"id": "06", "sentence": "Were there people who actually listened to the whole eight-hour performance?"}, {"id": "27", "sentence": "Were they forced up North by circumstances?"}], "Princeton": [{"id": "27", "sentence": "Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34."}], "coordinate": [{"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}], "sonar": [{"id": "27", "sentence": "It gives them an image, a bit similar to sonar."}], "website": [{"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}, {"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "sensitivities": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}], "turntables": [{"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}], "wizardry": [{"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}], "historical": [{"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}], "connection": [{"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}], "rock": [{"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "27", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "27", "sentence": "Far down in the Earth the rock is actually moving."}, {"id": "27", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "27", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}], "psycho": [{"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}], "resulted": [{"id": "06", "sentence": "This resulted in 'Principium 2.0'."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}], "Clumsy": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "portable": [{"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "IT": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "recorder": [{"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}], "conducting": [{"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "18", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called 'cheironmy'."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}], "develop": [{"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "02", "sentence": "Each student had to develop their own project around the process of making a score."}, {"id": "06", "sentence": "He was intrigued by the invitation, but it took a long time to develop."}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}], "reveals": [{"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}], "multidisciplinary": [{"id": "25", "sentence": "Ana Guedes is a multidisciplinary artist from Portugal who lives and works in the Hague."}], "remains": [{"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}], "curatorial": [{"id": "04", "sentence": "His studio work focuses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "His studio focuses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}], "manages": [{"id": "05", "sentence": "It is a complex work that nevertheless manages to remain simple and accessible in its final execution."}], "keynote": [{"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "study": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}], "outcomes": [{"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}], "appropriation": [{"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "enter": [{"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}], "Ayo": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}], "intact": [{"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}], "use/application": [{"id": "07", "sentence": "All had worked with the medium of the vinyl record and added a new use/application."}], "interwoven": [{"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}], "output": [{"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}], "maybe": [{"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}], "Laposky": [{"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}], "combining": [{"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}, {"id": "07", "sentence": "TELCOSYSTEMS (NL) Telcosystems presents 'Resonanz', an electronic book combining a series of visual artworks and a sound publication."}], "aren": [{"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}], "page": [{"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "raped": [{"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "true": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "intricate": [{"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "Got": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "elsewhere": [{"id": "27", "sentence": "Both in active mines and in the abandoned mines and buildings surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}], "created": [{"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "It created a vacuum after it closed."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}, {"id": "29", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "30", "sentence": "They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}], "processors": [{"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}], "generate": [{"id": "01", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}], "Sonido": [{"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}], "assemble": [{"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "Things": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Master": [{"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}], "samplers": [{"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}], "Steina": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "staged": [{"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}, {"id": "10", "sentence": "Software being processed creates its own temporal and spatial dimensions, which are staged for a public."}], "speaker": [{"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "Willem": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "bequeathed": [{"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}], "splitting": [{"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}], "one-note": [{"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}], "Fengjastrútur": [{"id": "22", "sentence": "He also used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}], "weekend": [{"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}], "Dust": [{"id": "24", "sentence": "Timbaland 'Another One Bites The Dust' by Queen vs."}], "Johansson": [{"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}], "less": [{"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}, {"id": "27", "sentence": "The composition follows a more or less linear path, starting with 'deep' time."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "The composition follows a more or less linear path – starting with deep time."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "sits": [{"id": "02", "sentence": "It has a Raspberry Pi sits at its core, and is programmed for several applications."}, {"id": "27", "sentence": "The mountain just sits there."}, {"id": "27", "sentence": "If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste."}], "metaphor": [{"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}], "lasted": [{"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}], "Is": [{"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "purchased": [{"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}], "sheets": [{"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "It's an iron board and it has the same visuals as the sticker sheets."}, {"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "learning": [{"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpart to his own musical input."}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}], "filed": [{"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}], "two-stave": [{"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}], "much": [{"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB Records."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process as navigating its actualisation."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "27", "sentence": "How much influence does it have on a community?"}, {"id": "27", "sentence": "So much time is compressed in this material and it's burned up in minutes."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "Fersteinn": [{"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "21", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "21", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "21", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "21", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "21", "sentence": "Fersteinn works with the method of so-called 'animation'."}, {"id": "21", "sentence": "Fersteinn works with the method of so-called 'animation'."}, {"id": "22", "sentence": "This technique of composing is performed by Guðmundur Steinn Gunnarsson and his quartet Fersteinn."}, {"id": "22", "sentence": "This technique of composing is performed by Guðmundur Steinn Gunnarsson and his quartet Fersteinn."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson has been part of DE PLAYER's programme with his quartet Fersteinn several times."}, {"id": "22", "sentence": "We also produced a limited polyurethane record with Fersteinn."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson has been part of DE PLAYER's programme with his quartet Fersteinn several times."}, {"id": "22", "sentence": "We also produced a limited polyurethane record with Fersteinn."}, {"id": "22", "sentence": "He runs his own multi-instrumentalist quartet called Fersteinn."}, {"id": "22", "sentence": "He runs his own multi-instrumentalist quartet called Fersteinn."}], "Aux": [{"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "aforementioned": [{"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}], "shaped": [{"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}], "Holzer": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "07", "sentence": "On the live oscilloscope concert Holzer states, 'The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}, {"id": "15", "sentence": "Holzer often works through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}, {"id": "16", "sentence": "Derek Holzer was invited for the event 'PUSHING' on 20 Jan 2017."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "Beautiful": [{"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Orm": [{"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}], "Asteroids": [{"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}], "elusive": [{"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}], "Scarlet": [{"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}], "translate": [{"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}], "metal": [{"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}, {"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}], "experiment": [{"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "mass": [{"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "31", "sentence": "From this perspective, his live performances can also be considered as black mass implosions."}], "fields": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called 'telephone adapters'."}], "copier'": [], "Lewis": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "York": [{"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}], "First": [{"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}], "Research": [{"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}], "Corner": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}], "put": [{"id": "02", "sentence": "This was put in place to both limit possibilities and to unite the format."}, {"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, which determines the rhythm."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}], "Tungsten": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Experimental": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "score": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "So what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "02", "sentence": "Each student had to develop their own project around the process of making a score."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "And since I'm a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "I followed that score for eight hours straight."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the working process."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "Her score was made on the spot with programming language; a sort of live coding."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "An interactive graphic score/light box/kinetic work fixed inside the cabinet, and 2."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}, {"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "18", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called 'cheironmy'."}, {"id": "23", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}, {"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}, {"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "31", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "Be": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}, {"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}, {"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}], "in-residence": [{"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}], "Need": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "effectiveness": [{"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}], "re-examined": [{"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}], "Julia": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne."}, {"id": "07", "sentence": "Julia's solo live performances primarily refer to the modified vinyl records that produce extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}, {"id": "07", "sentence": "Julia Bünnagel was also invited, under the guise of contributing a more physical input."}], "phenomena": [{"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}], "some": [{"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "05", "sentence": "We have known Vaast Colson to be an interesting artist for quite some time already."}, {"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "Kris Delacourt: There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}, {"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}, {"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}, {"id": "27", "sentence": "For this event, Kahn did some kind of improvisation session on the works of the three invited artists."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}], "VECTOR": [{"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}], "Brookhaven": [{"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}], "area": [{"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}, {"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}, {"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "27", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "29", "sentence": "It is based in Rotterdam in the same area that we operate in."}], "Short": [{"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}], "Implosion": [{"id": "31", "sentence": "One of Marco's most-known projects is called 'Black Mass Implosion'."}, {"id": "31", "sentence": "Fusinato's 'Mass Black Implosion' series began in 2007."}], "George": [{"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "The 'Event Scores' of George Brecht are still actual pieces."}, {"id": "26", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}], "soundtrack": [{"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}], "celebrated": [{"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}], "essentially": [{"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}], "spiders": [{"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}], "Again": [{"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}], "largely": [{"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "perfectly": [{"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "11", "sentence": "The invitation was perfectly suited for a project in public space that he had in mind for 'Pushing Scores'."}, {"id": "22", "sentence": "The idea of 'anitation' and the work of Guðmundur Steinn Gunnarsson fits perfectly within 'Pushing Scores'."}], "amplified": [{"id": "05", "sentence": "The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "nessecary": [{"id": "07", "sentence": "It is nessecary for evolution and survival."}], "broader": [{"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}], "homes": [{"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "argument": [{"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}], "touch": [{"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "31", "sentence": "We got in touch with Marco Fusinato through our '8-INCH' series."}], "justify": [{"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}], "hall": [{"id": "24", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}], "range": [{"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}], "plan": [{"id": "27", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}], "unchanged": [{"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "relates": [{"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "27", "sentence": "It is a process that somehow relates to my own artistic process."}], "Miles": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "block": [{"id": "06", "sentence": "There's something appealing in using a single octave as a building block."}], "list": [{"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}], "Subcultures": [{"id": "20", "sentence": "Subcultures form through music."}], "revolving": [{"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}], "Boogie": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "include": [{"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "27", "sentence": "It doesn't relate directly to mining, but it extends the project to include geology, deep time and stone."}], "containing": [{"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "existence": [{"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}], "2018": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "01", "sentence": "Throughout 2016, 2017 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "28", "sentence": "John Duncan took part in our event on 5 Oct 2018."}], "low": [{"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}], "Schaeffer": [{"id": "27", "sentence": "There is a little homage to GRM and Pierre Schaeffer on the record."}], "Brecht": [{"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "The 'Event Scores' of George Brecht are still actual pieces."}], "JOHANNES": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "JOHANNES BERGMARK (SE) Johannes Bergmark is a Fylkingen-affiliated sound artist, instrument builder and piano technician."}], "hang": [{"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}], "pre-digital": [{"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}], "tunnel": [{"id": "27", "sentence": "We have a tunnel that leads there."}], "former": [{"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}], "smart": [{"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}], "Memory": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "highlights": [{"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}], "positive": [{"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}], "Score": [{"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}], "Scherzinger": [{"id": "24", "sentence": "Sandy 'Baby Fratelli' by The Fratellis 'Baby Love' by Nicole Scherzinger Feat."}], "alternate": [{"id": "13", "sentence": "Yet these alternate approaches brought us together and made 'Pushing Scores' real."}], "NILSEN": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}], "systems": [{"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called 'telephone adapters'."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}], "credibility": [{"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}], "values": [{"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}], "Colson": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "05", "sentence": "We have known Vaast Colson to be an interesting artist for quite some time already."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be referred to as 'post-ironic'."}, {"id": "05", "sentence": "Colson's works examine core questions: What power does art have to change us and our society?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "The commercial potential and its associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}, {"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "Principium' comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "Colson made two booklets in the 'Principium' series – comprised of reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "Principium 2.0' is then another piece in step with the principle of Colson's original 'Principium'."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "There's Vaast Colson, Peter Flenger and Dennis Tyfus too."}], "Saelemakers": [{"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}], "possible": [{"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}], "recordings": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "27", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "27", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "27", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "27", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "27", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "I'm always processing and refining my field recordings."}, {"id": "28", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "machine": [{"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "05", "sentence": "The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded."}, {"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "05", "sentence": "The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}], "possibly": [{"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}], "herman": [{"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}], "differently": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}], "myriad": [{"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}], "Joost": [{"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}], "Strips": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Bet": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "hope": [{"id": "06", "sentence": "Kris Delacourt: I certainly do hope that it's enjoyable."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}], "under": [{"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "07", "sentence": "Julia Bünnagel was also invited, under the guise of contributing a more physical input."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}, {"id": "27", "sentence": "It is a base of hard rock under the water with different layers of material."}], "entirely": [{"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}], "Brianstorm": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "restriction": [{"id": "02", "sentence": "One restriction was decided upon: The scores had to be presented on floppy disc."}], "nonsense": [{"id": "20", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}], "theatre": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "sedimentologists": [{"id": "27", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}], "Earthquake": [{"id": "27", "sentence": "Mining' by BJ Nilsen, 'Jazz' by Max Franklin and 'Earthquake' by Aurelie Lierman."}], "feet": [{"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "schematics": [{"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}], "limbo": [{"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}], "m": [{"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "And since I'm a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "27", "sentence": "I'm very interested in the hidden layers and history the landscape."}, {"id": "27", "sentence": "I'm always processing and refining my field recordings."}], "that": [{"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Some dare to say that it’s a kind of jukebox."}, {"id": "02", "sentence": "We proposed to the students that they devise an issue of our publication Tetra Gamma Circulaire."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "05", "sentence": "The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "05", "sentence": "It is a complex work that nevertheless manages to remain simple and accessible in its final execution."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "At least, that's where the initial form and the name came from."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": ", that I went in that direction."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "Shit like that, really great stuff."}, {"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "I followed that score for eight hours straight."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "So that's what happened."}, {"id": "06", "sentence": "Kris Delacourt: Oh, I think it's definitely something that's still evolving."}, {"id": "06", "sentence": "Why was that?"}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB Records."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "How do you do that?"}, {"id": "06", "sentence": "Sometimes I preferred elements because of harmonic information, notes that work well together, sometimes because of rhythms that worked well, etc."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "Kris Delacourt: There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "And I follow that."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Does it feel like that for you too: As your first 'real' album, as a statement?"}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "06", "sentence": "I don't feel this record has that."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "Kris Delacourt: I certainly do hope that it's enjoyable."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "With 'Resonanz', Telcosystems presents an electronic book that combines a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "Resonanz' is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "Julia's solo live performances primarily refer to the modified vinyl records that produce extraordinary sounds."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpart to his own musical input."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}, {"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "11", "sentence": "The invitation was perfectly suited for a project in public space that he had in mind for 'Pushing Scores'."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages throughout its history: 1."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "For this he developed specific software that generates poetry in spoken-word form."}, {"id": "19", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "20", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}, {"id": "21", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "Instead of using traditional musical scores during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "In that way, the most irregular things can become very intelligible."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "23", "sentence": "I think silence has that same relation with music."}, {"id": "23", "sentence": "Emptiness has that same relation with notation."}, {"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "What is the relationship between the sounds of mining and the community that surrounds them?"}, {"id": "27", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope."}, {"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}, {"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "27", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "27", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "27", "sentence": "It just turned out that way, perhaps because that's how we generally tend to structure material."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "27", "sentence": "We have a tunnel that leads there."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "27", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "It's good for the human psyche to be reminded of that."}, {"id": "27", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "27", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "27", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "29", "sentence": "It is based in Rotterdam in the same area that we operate in."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "30", "sentence": "In that sense, there is never a perfect reproduction but always an interpretation."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}, {"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "pairs": [{"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}], "Gingeas": [{"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}], "Water": [{"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}], "Ensemble": [{"id": "11", "sentence": "For this multi-vocal composition, Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "22", "sentence": "He also used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "Finland": [{"id": "27", "sentence": "Both in active mines and in the abandoned mines and buildings surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}], "people": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "Were there people who actually listened to the whole eight-hour performance?"}, {"id": "06", "sentence": "Kris Delacourt: There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (of one or more people)."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "27", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them ."}, {"id": "27", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}], "pertinent": [{"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}], "JUBILEE": [{"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART x JUBILEE event in 2017."}], "Foals": [{"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}], "imprudently": [{"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}], "70,200": [{"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}], "Extra": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "theater": [{"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}], "curator": [{"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "27", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}], "Þosteinsdóttir": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "interface": [{"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}], "intuitive": [{"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}], "programming": [{"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "Her score was made on the spot with programming language; a sort of live coding."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}], "rasterised": [{"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}], "reconstruction": [{"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}], "leading": [{"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "constructed": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}], "acclaim": [{"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "LED": [{"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}], "Shit": [{"id": "06", "sentence": "Shit like that, really great stuff."}], "Bring": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "refocus": [{"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}], "founding": [{"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "and took part in founding its festival Sláturtíð."}], "Copperman": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "2007": [{"id": "10", "sentence": "The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "31", "sentence": "Fusinato's 'Mass Black Implosion' series began in 2007."}], "Oostzijde": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}], "security": [{"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology and national security."}], "inhabits": [{"id": "22", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}], "deeply": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}], "bits": [{"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}], "dematerialisation": [{"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}], "vitality": [{"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}], "happened": [{"id": "06", "sentence": "So that's what happened."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "27", "sentence": "What shifts happened in the past?"}], "150": [{"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}], "Girls": [{"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Antwerp": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp-based artists to contribute to the project."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be referred to as 'post-ironic'."}, {"id": "06", "sentence": "It was presented at Stadslimiet, Antwerp, as an installation piece on 2 Jul 2015."}, {"id": "06", "sentence": "The interview was conducted after he exhibited 'Principium 2.0' in an installation setting at Stadslimiet, Antwerp."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}], "economy": [{"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}], "arises": [{"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "key": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}], "Aika": [{"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "collective": [{"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "She is part of the sound art collective Sculptress of Sound."}, {"id": "22", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}], "wrangling": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "blast": [{"id": "27", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}], "Slow": [{"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}], "Transparent": [{"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}], "programmed": [{"id": "02", "sentence": "It has a Raspberry Pi sits at its core, and is programmed for several applications."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}], "trains": [{"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "Lisa": [{"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}], "Disco": [{"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}], "adhering": [{"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}], "mentioned": [{"id": "06", "sentence": "As mentioned, the first version was a modified Casio keyboard."}, {"id": "06", "sentence": "As mentioned, this is the short version, can you give me the full story?"}, {"id": "20", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}], "Battle": [{"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "Marclay": [{"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}], "yodel": [{"id": "23", "sentence": "Before the song there was the yodel,' As Bart Plantenga stated in his reading on yodeling."}], "minutes": [{"id": "06", "sentence": "So the C note runs for tens minutes and the B note is something like five minutes and twenty seconds."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "27", "sentence": "So much time is compressed in this material and it's burned up in minutes."}], "scores": [{"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Metrostation Maashaven."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "02", "sentence": "All these scores then had to come together in one magazine/object."}, {"id": "02", "sentence": "One restriction was decided upon: The scores had to be presented on floppy disc."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "06", "sentence": "Interestingly, he thought his resulting collages would be nice to use as scores – and they probably would have been."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "And since I'm a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "It was a good concert and her way of working fit into our ideas of exploring graphic scores very well."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "14", "sentence": "It completely complimented our thinking around how to imagine the concept of composing and making scores."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "21", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "Instead of using traditional musical scores during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "This Icelandic quartet plays with little analogue instruments and animation scores Gunnarsson made on his computer."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "29", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "mathematical": [{"id": "27", "sentence": "In practice it's quite mathematical, but it still it is part of the sound world too."}], "because": [{"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "06", "sentence": "Sometimes I preferred elements because of harmonic information, notes that work well together, sometimes because of rhythms that worked well, etc."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "12", "sentence": "It was particularly of interested to us because of the way in which he focuses on the reproduction of music."}, {"id": "12", "sentence": "He calls this chapter 'Represent' because it is the project of the executive."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "27", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "27", "sentence": "It just turned out that way, perhaps because that's how we generally tend to structure material."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "27", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "27", "sentence": "I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}], "combinations": [{"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}], "Hits": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}], "Tube": [{"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}], "regarded": [{"id": "24", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}], "Gregorian": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "11", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "18", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}], "pattern": [{"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}], "MIT": [{"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}], "Aksiom": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "Rapsodia": [{"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}], "Nations": [{"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}], "branches": [{"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}], "Hilde": [{"id": "27", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}], "Gallium": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "CAPITALISM": [{"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}], "tantalite": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "realtime-controllable": [{"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}], "colossal": [{"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "revolutionised": [{"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}], "stickers": [{"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}], "Graphite": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Wars": [{"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "hell": [{"id": "06", "sentence": "DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "subsequently": [{"id": "04", "sentence": "These books were the starting point for curating the event, which subsequently sat within our 'Pushing Scores' project."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}], "When": [{"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "21", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}, {"id": "26", "sentence": "When the webs are harvested, my hand affects their original form."}, {"id": "27", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "27", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "27", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "When we met we had discussions about several professional subjects and decided to realise a publication."}], "wherein": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}], "original": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "Principium 2.0' is then another piece in step with the principle of Colson's original 'Principium'."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "In this way you would end up with all different records, each one an original."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "26", "sentence": "When the webs are harvested, my hand affects their original form."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "31", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "founders": [{"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}], "Perfect": [{"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}], "aestheticised": [{"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp-based artists to contribute to the project."}, {"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "The work is voiced by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "His best ones."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Metrostation Maashaven."}, {"id": "01", "sentence": "Just so you can see them day and night, for roughly three weeks long."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The 'E-ARTHHA' event is about the search for new interfaces and possibilities for sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016, 2017 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on, this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media to this day."}, {"id": "01", "sentence": "So what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "TGC#3 is a particular kind of publishing platform engineered for sonic experiments, instruments and installations."}, {"id": "02", "sentence": "Some dare to say that it’s a kind of jukebox."}, {"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "02", "sentence": "We proposed to the students that they devise an issue of our publication Tetra Gamma Circulaire."}, {"id": "02", "sentence": "This is a magazine without any format, with the intention for a new one to be developed each time."}, {"id": "02", "sentence": "We worked around the ideas present in our 'Pushing Scores' project."}, {"id": "02", "sentence": "Each student had to develop their own project around the process of making a score."}, {"id": "02", "sentence": "All these scores then had to come together in one magazine/object."}, {"id": "02", "sentence": "One restriction was decided upon: The scores had to be presented on floppy disc."}, {"id": "02", "sentence": "This was put in place to both limit possibilities and to unite the format."}, {"id": "02", "sentence": "The result is a combination of several media, which all coexist in a designed concrete object."}, {"id": "02", "sentence": "‘Fred Flintstone meets the twenty-first century’, it was referred to as."}, {"id": "02", "sentence": "It has a Raspberry Pi sits at its core, and is programmed for several applications."}, {"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}, {"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}, {"id": "03", "sentence": "Kris Delacourt)."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "Every aspect of his work deals with the quality of sound."}, {"id": "04", "sentence": "It’s not a matter of an event between spectators and a musician– it’s a space to submit to a process."}, {"id": "04", "sentence": "RAFAËL ROZENDAAL (NL) Rafaël Rozendaal is a visual artist who uses the Internet as his canvas."}, {"id": "04", "sentence": "These works deal with continuity and endless accessibility."}, {"id": "04", "sentence": "They are intensified visual and audio perceptions in a specific space."}, {"id": "04", "sentence": "His websites attract a large audience of over forty million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "FLORIS VANHOOF (BE) Floris Vanhoof is a filmmaker and musician from Belgium."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}, {"id": "04", "sentence": "For this event he will work with a film projection and a synthesizer, which he influences with his brainwaves."}, {"id": "04", "sentence": "JUSTIN BENNETT (UK) Justin Bennett is an artist working with sound and visual media."}, {"id": "04", "sentence": "At every level of detail, the everyday sound of our urban surroundings is the focus of his work."}, {"id": "04", "sentence": "Within it, he develops the reciprocity of music and architecture, and of sound and image."}, {"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is also an art book publisher (Onomatopee, Eindhoven, and WdW Review, Rotterdam)."}, {"id": "04", "sentence": "His studio work focuses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "04", "sentence": "They are cheap dummy books, onto which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "04", "sentence": "These books were the starting point for curating the event, which subsequently sat within our 'Pushing Scores' project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}, {"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}, {"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "05", "sentence": "The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded."}, {"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "05", "sentence": "The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself."}, {"id": "05", "sentence": "We have known Vaast Colson to be an interesting artist for quite some time already."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "05", "sentence": "This can be a performance, an object, a book or whatever other form he settles on."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "05", "sentence": "This print run is to be seen as a performative action."}, {"id": "05", "sentence": "It is a complex work that nevertheless manages to remain simple and accessible in its final execution."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be referred to as 'post-ironic'."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: What power does art have to change us and our society?"}, {"id": "05", "sentence": "What emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "He opens up the artistic field to explore what is happening in the art world."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The commercial potential and its associated value assessment are problematic for Colson."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "The final installation will have twelve separate pieces: A complete octave."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}, {"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "06", "sentence": "Together, all twelve records form the complete set, which one 'game' requires."}, {"id": "06", "sentence": "Join the community."}, {"id": "06", "sentence": "We first encountered 'Principium 1.0'."}, {"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "He was intrigued by the invitation, but it took a long time to develop."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "This resulted in 'Principium 2.0'."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "It was presented at Stadslimiet, Antwerp, as an installation piece on 2 Jul 2015."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "Principium' comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "The office material, those colourful little dots."}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "He then reassembled these line segments into new shapes and new lines."}, {"id": "06", "sentence": "Pretty nonsensical in a way, but it produced a really beautiful, and quite fragile, result."}, {"id": "06", "sentence": "Abstract poetry."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "Colson made two booklets in the 'Principium' series – comprised of reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "Interestingly, he thought his resulting collages would be nice to use as scores – and they probably would have been."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "to him."}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "As mentioned, the first version was a modified Casio keyboard."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "Principium 2.0' is then another piece in step with the principle of Colson's original 'Principium'."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "This is an interview with Kris Delacourt (Remörk) on his practice and the 'Principium' story."}, {"id": "06", "sentence": "The interview was conducted after he exhibited 'Principium 2.0' in an installation setting at Stadslimiet, Antwerp."}, {"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "As mentioned, this is the short version, can you give me the full story?"}, {"id": "06", "sentence": "Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "At least, that's where the initial form and the name came from."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "Line segments which he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "It just rang as very poetic to me."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": ", that I went in that direction."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It's an iron board and it has the same visuals as the sticker sheets."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}, {"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "Well, a little… Two years, actually."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "It's meant to be in a continued state of flux."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "06", "sentence": "In this way you would end up with all different records, each one an original."}, {"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "Shit like that, really great stuff."}, {"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "Yet I felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to Morse code."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for tens minutes and the B note is something like five minutes and twenty seconds."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "Peter brought six record players, matching the six colours of the vinyl nicely – two notes each."}, {"id": "06", "sentence": "And since I'm a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, which determines the rhythm."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "I followed that score for eight hours straight."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "End of piece."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "So that's what happened."}, {"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}, {"id": "06", "sentence": "Kris Delacourt: Oh, I think it's definitely something that's still evolving."}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There's something appealing in using a single octave as a building block."}, {"id": "06", "sentence": "There’s something appealing in the number twelve even, and there's the appeal of building instruments too."}, {"id": "06", "sentence": "So I don’t think I've quite finished with it, no."}, {"id": "06", "sentence": "DE PLAYER: Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Why was that?"}, {"id": "06", "sentence": "What was the problem?"}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "Kris Delacourt: Not really, at least not in this case."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB Records."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "How do you do that?"}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "Kris Delacourt: You do it in short sessions, hah."}, {"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "That's quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Sometimes I preferred elements because of harmonic information, notes that work well together, sometimes because of rhythms that worked well, etc."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn't stay interesting, it had to go."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole eight-hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "Kris Delacourt: There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it's own."}, {"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "06", "sentence": "I could have gone for something more 'correct' in terms of concept – I don't know, pure sine waves or something."}, {"id": "06", "sentence": "The improvisation might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "How do you perceive the function a piece of vinyl can have?"}, {"id": "06", "sentence": "Kris Delacourt: The 10\" records have all been sold as well, so they sit somewhere in the middle."}, {"id": "06", "sentence": "They were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "It really was a one-time event, with the vinyls functioning as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "But it's still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}, {"id": "06", "sentence": "There's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "Kris Delacourt: I do look at it as a solo thing."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But Vaast, for instance, refuses to regard it as his doing."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "And I follow that."}, {"id": "06", "sentence": "They're just new pieces in their own right."}, {"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "06", "sentence": "Art is letting things go, let it flow."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "So I don't think I belong in the conceptual art section."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process as navigating its actualisation."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "That's just another way of letting things go, of giving up control."}, {"id": "06", "sentence": "DE PLAYER: The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: As your first 'real' album, as a statement?"}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "And a statement..."}, {"id": "06", "sentence": "I don't know."}, {"id": "06", "sentence": "I don't think of it as a manifesto or anything."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "06", "sentence": "DE PLAYER: Do you see this as a drone record?"}, {"id": "06", "sentence": "Or as a collage record?"}, {"id": "06", "sentence": "Kris Delacourt: If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}, {"id": "06", "sentence": "I don't feel this record has that."}, {"id": "06", "sentence": "Quite the contrary, actually."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "So more drone, definitely."}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or perhaps you would perceive it as a failure if it weren't enjoyable without the concept?"}, {"id": "06", "sentence": "Kris Delacourt: I certainly do hope that it's enjoyable."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "06", "sentence": "I guess I am aiming for the best of both worlds there."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "TELCOSYSTEMS (NL) Telcosystems presents 'Resonanz', an electronic book combining a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "On this evening, 'Resonanz' will be the starting point for a Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "With 'Resonanz', Telcosystems presents an electronic book that combines a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "For this evening event, 'Resonanz' will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Resonanz' is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "Until I tried it."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "It's strangely hypnotising."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}, {"id": "07", "sentence": "— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne."}, {"id": "07", "sentence": "She is part of the sound art collective Sculptress of Sound."}, {"id": "07", "sentence": "Julia's solo live performances primarily refer to the modified vinyl records that produce extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}, {"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "On the live oscilloscope concert Holzer states, 'The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "07", "sentence": "To complete the event we searched for two completely different approaches to composition."}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "Julia Bünnagel was also invited, under the guise of contributing a more physical input."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "In the case of the 'prepared record', the record or musical piece is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "07", "sentence": "All had worked with the medium of the vinyl record and added a new use/application."}, {"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The usual code of the record, as defined by the music industry, was broken in all works."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}, {"id": "08", "sentence": "The initiatives gather within a part of the programme called 'Intersections'."}, {"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "08", "sentence": "We decided to envision the framework for the installation as a three-dimensional staff to write down music."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it's use as a technology within her work."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "JOHANNES BERGMARK (SE) Johannes Bergmark is a Fylkingen-affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "However, it was decided to start from the floppy disc as a medium."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the working process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "09", "sentence": "Transmitted through a beamer and an audio system, everything becomes visible and audible."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (of one or more people)."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "As another example, Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpart to his own musical input."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will host the evening, and explain their ideas and approach to developing the archive."}, {"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}, {"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART x JUBILEE event in 2017."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "It was a good concert and her way of working fit into our ideas of exploring graphic scores very well."}, {"id": "10", "sentence": "Her score was made on the spot with programming language; a sort of live coding."}, {"id": "10", "sentence": "The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}, {"id": "10", "sentence": "VALENTINA VUKSIC (CH/NL) Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called 'telephone adapters'."}, {"id": "10", "sentence": "By writing choreographies for software and computer elements, she utilises these technologies as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers the time and space of computer processing and memory as levels of reality."}, {"id": "10", "sentence": "Software being processed creates its own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The work consists of two parts: 1."}, {"id": "11", "sentence": "An interactive graphic score/light box/kinetic work fixed inside the cabinet, and 2."}, {"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "The piece is voiced by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "The invitation was perfectly suited for a project in public space that he had in mind for 'Pushing Scores'."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "11", "sentence": "The work was installed for a period at The Small Museum – a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "A seventh note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "11", "sentence": "For this multi-vocal composition, Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century, Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "12", "sentence": "It was particularly of interested to us because of the way in which he focuses on the reproduction of music."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages throughout its history: 1."}, {"id": "12", "sentence": "Sacrificing, 2."}, {"id": "12", "sentence": "Representing, 3."}, {"id": "12", "sentence": "Repeating, 4."}, {"id": "12", "sentence": "Post-Repeating."}, {"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}, {"id": "12", "sentence": "It refers to the era of printed music (1500–1900)."}, {"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "He calls this chapter 'Represent' because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "At the time of writing it would have been quite prophetic."}, {"id": "12", "sentence": "Because of this ambiguity, we are interested in what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "13", "sentence": "The entire 'Pushing Scores' project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "This encompasses the conceptualisation, the funding and the execution."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "13", "sentence": "Yet these alternate approaches brought us together and made 'Pushing Scores' real."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer based in Amsterdam."}, {"id": "13", "sentence": "His studio focuses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the 'Aalto Natives' at the Finnish Pavilion of the 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}, {"id": "13", "sentence": "Remco van Bladel grew up in the record store of his father."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "13", "sentence": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}, {"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "It was an investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "He sees it as punk, experimental, noise, investigative and critical, searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "14", "sentence": "It completely complimented our thinking around how to imagine the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}, {"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Holzer often works through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "16", "sentence": "Derek Holzer was invited for the event 'PUSHING' on 20 Jan 2017."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology and national security."}, {"id": "16", "sentence": "In the early 1960s, the composer Morton Subotnik employed engineer Don Buchla to help him create 'the music of the future'."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}, {"id": "17", "sentence": "The 'Event Scores' of George Brecht are still actual pieces."}, {"id": "17", "sentence": "He is inspiring for a lot of performance-based composers."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "18", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called 'cheironmy'."}, {"id": "18", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "18", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "19", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "19", "sentence": "For example, his work 'frakativ' is an electronic visual sound poetry performance."}, {"id": "19", "sentence": "Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "19", "sentence": "The performance 'frikativ' is real-time generated visual and sound poetry."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}, {"id": "19", "sentence": "For 'Pushing Scores', we invited him to make special work for a limited edition."}, {"id": "19", "sentence": "For this he developed specific software that generates poetry in spoken-word form."}, {"id": "19", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "20", "sentence": "In a multicultural situation, abstract sounds are forms of recognition; then there is, for example, music."}, {"id": "20", "sentence": "Cultural identity is therefore communicated through this."}, {"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}, {"id": "20", "sentence": "Subcultures form through music."}, {"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "20", "sentence": "The style and/or genre determine the identity."}, {"id": "20", "sentence": "New generations are born."}, {"id": "20", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "20", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "20", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "20", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "20", "sentence": "Signification also plays a major role in this."}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "20", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "20", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "20", "sentence": "Improper uses of consumer electronics (e.g."}, {"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}, {"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}, {"id": "20", "sentence": "Inspiration comes in the form of vocal poetry, 'poésie sonore' and text-sound composition."}, {"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}, {"id": "20", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "21", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}, {"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}, {"id": "21", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "21", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "21", "sentence": "Gunnarsson's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "21", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "21", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "21", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "21", "sentence": "Fersteinn works with the method of so-called 'animation'."}, {"id": "21", "sentence": "This means animated notation."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "22", "sentence": "Anitation' is the term for animated notation."}, {"id": "22", "sentence": "Instead of using traditional musical scores during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "22", "sentence": "This technique of composing is performed by Guðmundur Steinn Gunnarsson and his quartet Fersteinn."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson has been part of DE PLAYER's programme with his quartet Fersteinn several times."}, {"id": "22", "sentence": "This Icelandic quartet plays with little analogue instruments and animation scores Gunnarsson made on his computer."}, {"id": "22", "sentence": "It results in very delicate and unconventional chamber music."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}, {"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}, {"id": "22", "sentence": "We also produced a limited polyurethane record with Fersteinn."}, {"id": "22", "sentence": "The idea of 'anitation' and the work of Guðmundur Steinn Gunnarsson fits perfectly within 'Pushing Scores'."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "22", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "22", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "22", "sentence": "In that way, the most irregular things can become very intelligible."}, {"id": "22", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "22", "sentence": "and took part in founding its festival Sláturtíð."}, {"id": "22", "sentence": "He also used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "22", "sentence": "He runs his own multi-instrumentalist quartet called Fersteinn."}, {"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "23", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "23", "sentence": "Before God needed to be invented there were man."}, {"id": "23", "sentence": "Before language there was the song."}, {"id": "23", "sentence": "Before the song there was the yodel,' As Bart Plantenga stated in his reading on yodeling."}, {"id": "23", "sentence": "I think silence has that same relation with music."}, {"id": "23", "sentence": "Emptiness has that same relation with notation."}, {"id": "24", "sentence": "Johannes Kreidler is a special case when it comes to composing."}, {"id": "24", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "24", "sentence": "His work is described as conceptual music."}, {"id": "24", "sentence": "He usually uses multimedia elements."}, {"id": "24", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "24", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}, {"id": "24", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}, {"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "24", "sentence": "The system was therefore completely stuck."}, {"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}, {"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}, {"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "24", "sentence": "According to Kreidler, the action, entitled 'Fremdarbeit', is intended to focus attention on the themes of exploitation and authorship."}, {"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}, {"id": "24", "sentence": "Johannes Kreidler is a composer and concept and media artist."}, {"id": "24", "sentence": "His way of composing has a multimedia conceptual approach, which is mostly linked with processes in society."}, {"id": "24", "sentence": "This makes it particularly interesting when viewed from the perspective of experimentation and unorthodox composing."}, {"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}, {"id": "24", "sentence": "Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'."}, {"id": "24", "sentence": "This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Timbaland 'Another One Bites The Dust' by Queen vs."}, {"id": "24", "sentence": "The Miami Project 'Anthem' by Filo & Peri feat."}, {"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}, {"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}, {"id": "24", "sentence": "Justin Timberlake & Timbaland 'Baby Baby' by Sunblock feat."}, {"id": "24", "sentence": "Sandy 'Baby Fratelli' by The Fratellis 'Baby Love' by Nicole Scherzinger Feat."}, {"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}, {"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}, {"id": "24", "sentence": "Patrick Stump 'Curvy Cola Bottle Body' by Chico 'D.A.N.C.E."}, {"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}, {"id": "24", "sentence": "Shena 'Dark Road' by Annie Lennox 'Delivery' by Babyshambles 'Desecration Smile' by Red Hot Chili Peppers 'Destination Calabria' by Alex Gaudino feat."}, {"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}, {"id": "24", "sentence": "by Band Aid 'Do Without My Love' by Nathan [UK] 'Do You Know?"}, {"id": "24", "sentence": "The Ping Pong Song)' by Enrique Iglesias 'Doing It Right' by The Go!"}, {"id": "24", "sentence": "Team 'Don't' by Elvis Presley With The Jordanaires 'Don't Dance' by Midas 'Don't Give It Up' by Siobhan Donaghy"}, {"id": "25", "sentence": "Ana Guedes is a multidisciplinary artist from Portugal who lives and works in the Hague."}, {"id": "25", "sentence": "She works with sound, video, installation and performance."}, {"id": "25", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}, {"id": "25", "sentence": "Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation."}, {"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}, {"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "25", "sentence": "Ana Guedes' project 'UNTITLED RECORDS' fits into our idea of finding new ways to compose very seamlessly."}, {"id": "25", "sentence": "Her archival approach and its political and personal implications are the starting point of this work."}, {"id": "25", "sentence": "Because she uses and records the archive, the end result almost turns out to be a DJ set."}, {"id": "25", "sentence": "This 'other way' to come to sound is an interesting phenomenon."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "26", "sentence": "She presented her project entitled 'Arachnes Sonifier', in which she captures and makes audible spider webs."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "26", "sentence": "Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}, {"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}, {"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "26", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "26", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "26", "sentence": "The sonification of spider webs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "26", "sentence": "When the webs are harvested, my hand affects their original form."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}, {"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}, {"id": "26", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "26", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}, {"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "26", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "27", "sentence": "What is the relationship between the sounds of mining and the community that surrounds them?"}, {"id": "27", "sentence": "Where does mining stop?"}, {"id": "27", "sentence": "How much influence does it have on a community?"}, {"id": "27", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "27", "sentence": "Both in active mines and in the abandoned mines and buildings surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "27", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope."}, {"id": "27", "sentence": "He also expanded his archive with all related logistic processes."}, {"id": "27", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "27", "sentence": "The composition follows a more or less linear path, starting with 'deep' time."}, {"id": "27", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "27", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "27", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}, {"id": "27", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}, {"id": "27", "sentence": "The musique concrète, as developed by Henry at GRM, was made by magnetic tape."}, {"id": "27", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "27", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "27", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "Benny Nilsen approached us with his project 'ORE'."}, {"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}, {"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "27", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}, {"id": "27", "sentence": "Currently, Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}, {"id": "27", "sentence": "For this event, Kahn did some kind of improvisation session on the works of the three invited artists."}, {"id": "27", "sentence": "Mining' by BJ Nilsen, 'Jazz' by Max Franklin and 'Earthquake' by Aurelie Lierman."}, {"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "27", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "27", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}, {"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "27", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "27", "sentence": "It doesn't relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "27", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "27", "sentence": "The mountain just sits there."}, {"id": "27", "sentence": "The sounds are environmental."}, {"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "27", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "27", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "27", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "27", "sentence": "I did the same with coal."}, {"id": "27", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "27", "sentence": "She still stores coal there in a small outhouse (called 'kullbingen')."}, {"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "27", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "27", "sentence": "It's not iron ore but lignite, 'braunkohle'."}, {"id": "27", "sentence": "It is a vast scar in the landscape, and really an incredible place."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "I'm very interested in the hidden layers and history the landscape."}, {"id": "27", "sentence": "That's why I wanted to have a thread about the regeneration of mining areas."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}, {"id": "27", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "27", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "One is the waste you make to get to the ore."}, {"id": "27", "sentence": "If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste."}, {"id": "27", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "27", "sentence": "Sometimes this can go horribly wrong."}, {"id": "27", "sentence": "It is important for companies to manage this."}, {"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "27", "sentence": "The composition follows a more or less linear path – starting with deep time."}, {"id": "27", "sentence": "It just turned out that way, perhaps because that's how we generally tend to structure material."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "It's absurd when you start to think about it."}, {"id": "27", "sentence": "So much time is compressed in this material and it's burned up in minutes."}, {"id": "27", "sentence": "It's not like wind or the sun, which give you immediate energy."}, {"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}, {"id": "27", "sentence": "Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "27", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "27", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "27", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "27", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "27", "sentence": "This was part of a test production of around 30,000 tons."}, {"id": "27", "sentence": "We can see layers of hematite."}, {"id": "27", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "27", "sentence": "You have to take a boat to get there."}, {"id": "27", "sentence": "We have a tunnel that leads there."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "27", "sentence": "In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it ."}, {"id": "27", "sentence": "The sound of the mine was always present."}, {"id": "27", "sentence": "It created a vacuum after it closed."}, {"id": "27", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "27", "sentence": "The landscape is fairly untouched, it is scarcely populated, it's desolate."}, {"id": "27", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "27", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "It's good for the human psyche to be reminded of that."}, {"id": "27", "sentence": "You can only survive there if you work with nature."}, {"id": "27", "sentence": "If you work against it, it will kill you."}, {"id": "27", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them ."}, {"id": "27", "sentence": "The Arctic is changing quickly."}, {"id": "27", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "27", "sentence": "That is quite scary."}, {"id": "27", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "27", "sentence": "What shifts will we see?"}, {"id": "27", "sentence": "What shifts happened in the past?"}, {"id": "27", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "27", "sentence": "Were they forced up North by circumstances?"}, {"id": "27", "sentence": "These questions are really haunting me ."}, {"id": "27", "sentence": "Far down in the Earth the rock is actually moving."}, {"id": "27", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "27", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "27", "sentence": "Listening underground is like reading the environment."}, {"id": "27", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "27", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "27", "sentence": "Different types of stone give different frequency readings."}, {"id": "27", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "27", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "27", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "27", "sentence": "In practice it's quite mathematical, but it still it is part of the sound world too."}, {"id": "27", "sentence": "Through soundwaves geologists are able to map what is underground."}, {"id": "27", "sentence": "There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "27", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "27", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "27", "sentence": "I had hundreds of cassette tapes, mostly TDK."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "27", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "27", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "27", "sentence": "I'm always processing and refining my field recordings."}, {"id": "27", "sentence": "I apply filters, use electronics."}, {"id": "27", "sentence": "It’s a kind of sound alchemy."}, {"id": "27", "sentence": "All to get to the desired result: The gold!"}, {"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}, {"id": "28", "sentence": "John Duncan took part in our event on 5 Oct 2018."}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}, {"id": "28", "sentence": "When we met we had discussions about several professional subjects and decided to realise a publication."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "28", "sentence": "Duncan also often works with Carl Michael Hausswolff, who is an expert in EVP."}, {"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}, {"id": "28", "sentence": "He is currently a sound designer at the Art Academy of Bologna, Italy."}, {"id": "28", "sentence": "Since the beginning of his practice, he has made extensive use of recorded sound."}, {"id": "28", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "28", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "28", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "29", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}, {"id": "29", "sentence": "It is based in Rotterdam in the same area that we operate in."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}, {"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "29", "sentence": "Varia has developed a context and technical environment as a web-based archival publication."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "29", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}, {"id": "29", "sentence": "His presentation was a crossover between a lecture and a demonstration."}, {"id": "29", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "People who make black MIDIs are known as 'blackers'."}, {"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "This not only counts for publishing but also for exploring new possibilities for artist practice in general."}, {"id": "30", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "30", "sentence": "In that sense, there is never a perfect reproduction but always an interpretation."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}, {"id": "30", "sentence": "This one is a pretty contemporary example and results in great imagery and sound."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}, {"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "30", "sentence": "They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}, {"id": "30", "sentence": "The end titles of many black MIDI videos display how many notes are in the piece."}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}, {"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}, {"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "Spectral Arrows' is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "31", "sentence": "We got in touch with Marco Fusinato through our '8-INCH' series."}, {"id": "31", "sentence": "For this we published 8\" records with artists and labels."}, {"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}, {"id": "31", "sentence": "One of Marco's most-known projects is called 'Black Mass Implosion'."}, {"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}, {"id": "31", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "31", "sentence": "From this perspective, his live performances can also be considered as black mass implosions."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}, {"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}, {"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}, {"id": "31", "sentence": "A huge public announcement system was in the office blazing loud, but very articulated sound."}, {"id": "31", "sentence": "Good food and drinks were served."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "31", "sentence": "Fusinato's 'Mass Black Implosion' series began in 2007."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "main": [{"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}], "results": [{"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "22", "sentence": "It results in very delicate and unconventional chamber music."}, {"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "This one is a pretty contemporary example and results in great imagery and sound."}], "perceptions": [{"id": "04", "sentence": "They are intensified visual and audio perceptions in a specific space."}], "expressive": [{"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "two": [{"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "Colson made two booklets in the 'Principium' series – comprised of reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "Peter brought six record players, matching the six colours of the vinyl nicely – two notes each."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Kris Delacourt: If you force me to choose between those two, then drone."}, {"id": "07", "sentence": "To complete the event we searched for two completely different approaches to composition."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "11", "sentence": "The work consists of two parts: 1."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}, {"id": "19", "sentence": "Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}], "recoding": [{"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}], "Hudgens": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Theater": [{"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}], "giving": [{"id": "06", "sentence": "That's just another way of letting things go, of giving up control."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "20", "sentence": "Multilingualism is important in giving meaning to the things around us."}], "Rutt-Etra": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}], "Lostprophets": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Cultural": [{"id": "20", "sentence": "Cultural identity is therefore communicated through this."}], "2010": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "United": [{"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}], "MIDIPlayer": [{"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "labelled": [{"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}], "path": [{"id": "27", "sentence": "The composition follows a more or less linear path, starting with 'deep' time."}, {"id": "27", "sentence": "The composition follows a more or less linear path – starting with deep time."}], "Out": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}], "swarms": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "S.L.Á.T.U.R": [{"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "22", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}], "meaning": [{"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "20", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}], "combines": [{"id": "07", "sentence": "With 'Resonanz', Telcosystems presents an electronic book that combines a series of visual artworks and a sound publication."}, {"id": "21", "sentence": "Gunnarsson's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}, {"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "reproductive": [{"id": "07", "sentence": "In the case of the 'prepared record', the record or musical piece is not used as a reproductive technique."}], "Belgium": [{"id": "04", "sentence": "FLORIS VANHOOF (BE) Floris Vanhoof is a filmmaker and musician from Belgium."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}], "Soulja": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "documentation": [{"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}], "close": [{"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to Morse code."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "19", "sentence": "Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}], "Still": [{"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it's own."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}], "GAMMA": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}], "London": [{"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "poster": [{"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}], "indignation": [{"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "geology": [{"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "27", "sentence": "It doesn't relate directly to mining, but it extends the project to include geology, deep time and stone."}], "fascinate": [{"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}], "detonation": [{"id": "27", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}], "workshop": [{"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "interact": [{"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}], "lead": [{"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "Give": [{"id": "24", "sentence": "Team 'Don't' by Elvis Presley With The Jordanaires 'Don't Dance' by Midas 'Don't Give It Up' by Siobhan Donaghy"}], "files": [{"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}, {"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}], "Presentation": [{"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}], "seventies": [{"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}], "inventors": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}], "blog": [{"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}], "Cruce": [{"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}], "2015": [{"id": "06", "sentence": "It was presented at Stadslimiet, Antwerp, as an installation piece on 2 Jul 2015."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}], "Uses": [{"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}], "manipulated": [{"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}], "MIDITrail": [{"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "separate": [{"id": "06", "sentence": "The final installation will have twelve separate pieces: A complete octave."}], "flaws": [{"id": "06", "sentence": "The improvisation might be one of the major flaws, actually, conceptually speaking."}], "feedback": [{"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "67P/Churyumov–Gerasimenko": [{"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}], "subjective": [{"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "25", "sentence": "Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation."}], "planning": [{"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}], "fragment": [{"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}], "Throughout": [{"id": "01", "sentence": "Throughout 2016, 2017 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "27", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}], "compose": [{"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "25", "sentence": "Ana Guedes' project 'UNTITLED RECORDS' fits into our idea of finding new ways to compose very seamlessly."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "musicology": [{"id": "29", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}], "still": [{"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "06", "sentence": "Kris Delacourt: Oh, I think it's definitely something that's still evolving."}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "But it's still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "11", "sentence": "In the eleventh century, Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "17", "sentence": "The 'Event Scores' of George Brecht are still actual pieces."}, {"id": "20", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "27", "sentence": "She still stores coal there in a small outhouse (called 'kullbingen')."}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}, {"id": "27", "sentence": "In practice it's quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}, {"id": "28", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}, {"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}], "Oh": [{"id": "06", "sentence": "Kris Delacourt: Oh, I think it's definitely something that's still evolving."}], "abusive": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "parks": [{"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "three": [{"id": "01", "sentence": "Just so you can see them day and night, for roughly three weeks long."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "08", "sentence": "We decided to envision the framework for the installation as a three-dimensional staff to write down music."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}, {"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}, {"id": "27", "sentence": "For this event, Kahn did some kind of improvisation session on the works of the three invited artists."}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}], "Johnson": [{"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}], "better": [{"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "played": [{"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}, {"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "20", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}, {"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "30", "sentence": "They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}], "exclusive": [{"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}], "Me": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}, {"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}, {"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}], "connections": [{"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}], "poetry": [{"id": "06", "sentence": "Abstract poetry."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "19", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "19", "sentence": "For example, his work 'frakativ' is an electronic visual sound poetry performance."}, {"id": "19", "sentence": "The performance 'frikativ' is real-time generated visual and sound poetry."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}, {"id": "19", "sentence": "For this he developed specific software that generates poetry in spoken-word form."}, {"id": "20", "sentence": "Inspiration comes in the form of vocal poetry, 'poésie sonore' and text-sound composition."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}], "Small": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "The work was installed for a period at The Small Museum – a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}], "Nadine": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "passed": [{"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}], "Could": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Joy": [{"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}], "shooter": [{"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}, {"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}], "earthquakes": [{"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}], "History": [{"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}], "downloaded": [{"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}], "tailings": [{"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}], "undertakes": [{"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}], "position": [{"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}], "Beyonce": [{"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}], "remix": [{"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "Prins": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "Manhattan": [{"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}], "GOURDON": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}], "records": [{"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "06", "sentence": "Together, all twelve records form the complete set, which one 'game' requires."}, {"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "06", "sentence": "In this way you would end up with all different records, each one an original."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "Kris Delacourt: The 10\" records have all been sold as well, so they sit somewhere in the middle."}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Julia's solo live performances primarily refer to the modified vinyl records that produce extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "25", "sentence": "Because she uses and records the archive, the end result almost turns out to be a DJ set."}, {"id": "31", "sentence": "For this we published 8\" records with artists and labels."}], "understand": [{"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}], "relationships": [{"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}], "Meat": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}, {"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}], "tried-and-failed": [{"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}], "year": [{"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "04", "sentence": "His websites attract a large audience of over forty million unique visits per year."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}], "Moog": [{"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}], "Transformation": [{"id": "30", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}], "reproductions": [{"id": "06", "sentence": "Colson made two booklets in the 'Principium' series – comprised of reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}], "motto": [{"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}], "Morton": [{"id": "16", "sentence": "In the early 1960s, the composer Morton Subotnik employed engineer Don Buchla to help him create 'the music of the future'."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}], "settings": [{"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "21", "sentence": "Fersteinn usually performs in the quietest of settings."}], "Bleeding": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Oil": [{"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}], "crazy": [{"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}], "spotlighted": [{"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "least": [{"id": "06", "sentence": "At least, that's where the initial form and the name came from."}, {"id": "06", "sentence": "Kris Delacourt: Not really, at least not in this case."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}], "1989": [{"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}], "Attali": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages throughout its history: 1."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}], "Mosconi": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}], "towards": [{"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "opens": [{"id": "05", "sentence": "He opens up the artistic field to explore what is happening in the art world."}, {"id": "07", "sentence": "On the live oscilloscope concert Holzer states, 'The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "composer": [{"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "In the early 1960s, the composer Morton Subotnik employed engineer Don Buchla to help him create 'the music of the future'."}, {"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "22", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "24", "sentence": "Johannes Kreidler is a composer and concept and media artist."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "communication": [{"id": "20", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}], "want": [{"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}], "1985": [{"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}], "thanks": [{"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "favor": [{"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}], "fundamental": [{"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}], "software": [{"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "09", "sentence": "As another example, Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "By writing choreographies for software and computer elements, she utilises these technologies as actors in software/noise pieces for, and in, computers."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "19", "sentence": "For this he developed specific software that generates poetry in spoken-word form."}, {"id": "19", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "Silence": [{"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "civil": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}], "when": [{"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}, {"id": "24", "sentence": "Johannes Kreidler is a special case when it comes to composing."}, {"id": "24", "sentence": "This makes it particularly interesting when viewed from the perspective of experimentation and unorthodox composing."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "27", "sentence": "It's absurd when you start to think about it."}, {"id": "27", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "Review": [{"id": "04", "sentence": "He is also an art book publisher (Onomatopee, Eindhoven, and WdW Review, Rotterdam)."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}], "humans": [{"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}], "screamed": [{"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}], "waves": [{"id": "06", "sentence": "I could have gone for something more 'correct' in terms of concept – I don't know, pure sine waves or something."}], "e-warriors": [{"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "associate": [{"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}], "Jörg": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}], "titled": [{"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}], "write": [{"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "08", "sentence": "We decided to envision the framework for the installation as a three-dimensional staff to write down music."}], "CIRCULAIRE": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}], "Maffia": [{"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}], "Gaudino": [{"id": "24", "sentence": "Shena 'Dark Road' by Annie Lennox 'Delivery' by Babyshambles 'Desecration Smile' by Red Hot Chili Peppers 'Destination Calabria' by Alex Gaudino feat."}], "Murmansk": [{"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "scholarly": [{"id": "27", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}], "years": [{"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Well, a little… Two years, actually."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "27", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "27", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}], "sky": [{"id": "07", "sentence": "On the live oscilloscope concert Holzer states, 'The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}], "Kerckhoven": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Booty": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Dancefloor": [{"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}], "text": [{"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "20", "sentence": "Inspiration comes in the form of vocal poetry, 'poésie sonore' and text-sound composition."}], "Chico": [{"id": "24", "sentence": "Patrick Stump 'Curvy Cola Bottle Body' by Chico 'D.A.N.C.E."}], "Besides": [{"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}], "precursor": [{"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}], "Dearest": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "materialised": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}], "tracks": [{"id": "27", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}], "Arachnes": [{"id": "26", "sentence": "She presented her project entitled 'Arachnes Sonifier', in which she captures and makes audible spider webs."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}], "Connecting": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}], "three-dimensional": [{"id": "08", "sentence": "We decided to envision the framework for the installation as a three-dimensional staff to write down music."}], "power": [{"id": "05", "sentence": "Colson's works examine core questions: What power does art have to change us and our society?"}], "Backfire": [{"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}], "Nelly": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}], "yourself": [{"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}], "strings": [{"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}], "Canada": [{"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}], "train": [{"id": "27", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}], "withdrawal": [{"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "waveforms": [{"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}], "custom-built": [{"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "mid-1980s": [{"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "nuclear": [{"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology and national security."}], "Cramer": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "logistics": [{"id": "27", "sentence": "Both in active mines and in the abandoned mines and buildings surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}], "Program": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "Gordon": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "performance": [{"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "The 'E-ARTHHA' event is about the search for new interfaces and possibilities for sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}, {"id": "05", "sentence": "This can be a performance, an object, a book or whatever other form he settles on."}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "Were there people who actually listened to the whole eight-hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}, {"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}, {"id": "17", "sentence": "He is inspiring for a lot of performance-based composers."}, {"id": "19", "sentence": "For example, his work 'frakativ' is an electronic visual sound poetry performance."}, {"id": "19", "sentence": "The performance 'frikativ' is real-time generated visual and sound poetry."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "Instead of using traditional musical scores during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "She works with sound, video, installation and performance."}, {"id": "27", "sentence": "Currently, Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "29", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "am": [{"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "I guess I am aiming for the best of both worlds there."}, {"id": "27", "sentence": "I am drawn to the Arctic as a sound person because of its relative remoteness."}], "competition": [{"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}], "contentment": [{"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}], "standpoint": [{"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}], "located": [{"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}], "galleries": [{"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}], "Lumidee": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "exhibited": [{"id": "06", "sentence": "The interview was conducted after he exhibited 'Principium 2.0' in an installation setting at Stadslimiet, Antwerp."}], "ink": [{"id": "04", "sentence": "They are cheap dummy books, onto which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}], "Mariah": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "stating": [{"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}], "online": [{"id": "19", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "Always": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Clàudia": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "Elliot": [{"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "mistakes": [{"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}], "placed": [{"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "24", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}], "aligned": [{"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}], "DIY": [{"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}], "incredible": [{"id": "27", "sentence": "It is a vast scar in the landscape, and really an incredible place."}], "board": [{"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It's an iron board and it has the same visuals as the sticker sheets."}], "from": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "FLORIS VANHOOF (BE) Floris Vanhoof is a filmmaker and musician from Belgium."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "06", "sentence": "Principium' comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "At least, that's where the initial form and the name came from."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "However, it was decided to start from the floppy disc as a medium."}, {"id": "10", "sentence": "The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "13", "sentence": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "18", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called 'cheironmy'."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "21", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}, {"id": "24", "sentence": "This makes it particularly interesting when viewed from the perspective of experimentation and unorthodox composing."}, {"id": "25", "sentence": "Ana Guedes is a multidisciplinary artist from Portugal who lives and works in the Hague."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "27", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "28", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}, {"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}], "Stockhausen": [{"id": "13", "sentence": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}], "screaming": [{"id": "07", "sentence": "On the live oscilloscope concert Holzer states, 'The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "THE": [{"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "technique": [{"id": "07", "sentence": "In the case of the 'prepared record', the record or musical piece is not used as a reproductive technique."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "22", "sentence": "This technique of composing is performed by Guðmundur Steinn Gunnarsson and his quartet Fersteinn."}], "attendants": [{"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "impact": [{"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "27", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope."}], "pre-date": [{"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "commodities": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "months": [{"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}], "monazite": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "crackles": [{"id": "27", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}], "chants": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "11", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "18", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}], "LP": [{"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}, {"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "DE PLAYER: The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}], "grids": [{"id": "22", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}], "Paris": [{"id": "10", "sentence": "The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}, {"id": "27", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}], "Nguyen": [{"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}], "process": [{"id": "02", "sentence": "Each student had to develop their own project around the process of making a score."}, {"id": "04", "sentence": "It’s not a matter of an event between spectators and a musician– it’s a space to submit to a process."}, {"id": "05", "sentence": "What emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process as navigating its actualisation."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the working process."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "15", "sentence": "Holzer often works through a long, rigorous process of self-education in electronics."}, {"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}, {"id": "26", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "27", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}, {"id": "30", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}], "obviously": [{"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}], "mutated": [{"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}], "cover": [{"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}], "contrast": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}], "ready": [{"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}], "DEREK": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}], "Wait": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "attitude": [{"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}], "unnoticed": [{"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}], "Nancarrow": [{"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}], "witchcraft": [{"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}], "casts": [{"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}], "Scores": [{"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "02", "sentence": "We worked around the ideas present in our 'Pushing Scores' project."}, {"id": "04", "sentence": "These books were the starting point for curating the event, which subsequently sat within our 'Pushing Scores' project."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "11", "sentence": "The invitation was perfectly suited for a project in public space that he had in mind for 'Pushing Scores'."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}, {"id": "13", "sentence": "The entire 'Pushing Scores' project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "Yet these alternate approaches brought us together and made 'Pushing Scores' real."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "The 'Event Scores' of George Brecht are still actual pieces."}, {"id": "19", "sentence": "For 'Pushing Scores', we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "22", "sentence": "The idea of 'anitation' and the work of Guðmundur Steinn Gunnarsson fits perfectly within 'Pushing Scores'."}, {"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}, {"id": "29", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}], "oral": [{"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "26", "sentence": "Knowledge sharing across traditions has often taken place through oral mythology."}], "count": [{"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}], "note": [{"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "So the C note runs for tens minutes and the B note is something like five minutes and twenty seconds."}, {"id": "11", "sentence": "A seventh note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}, {"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}, {"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "reasons": [{"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}], "delve": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}], "Sonology": [{"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}], "Sony": [{"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}], "opera": [{"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}], "ever-evolving": [{"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}], "funnily": [{"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}], "unknown": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}], "anybody": [{"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}], "land": [{"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "27", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}], "commissioned": [{"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}, {"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}], "setups": [{"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}], "Hearts": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "dawn": [{"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "window": [{"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}], "Music": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}, {"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}, {"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}, {"id": "30", "sentence": "They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "received": [{"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "pushed": [{"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}], "DETUNING/NOTING": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}], "Gamma": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "02", "sentence": "We proposed to the students that they devise an issue of our publication Tetra Gamma Circulaire."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}], "for": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "Just so you can see them day and night, for roughly three weeks long."}, {"id": "01", "sentence": "The 'E-ARTHHA' event is about the search for new interfaces and possibilities for sound composition, image and performance."}, {"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC#3 is a particular kind of publishing platform engineered for sonic experiments, instruments and installations."}, {"id": "02", "sentence": "This is a magazine without any format, with the intention for a new one to be developed each time."}, {"id": "02", "sentence": "It has a Raspberry Pi sits at its core, and is programmed for several applications."}, {"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "04", "sentence": "These books were the starting point for curating the event, which subsequently sat within our 'Pushing Scores' project."}, {"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}, {"id": "05", "sentence": "We have known Vaast Colson to be an interesting artist for quite some time already."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "The commercial potential and its associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for tens minutes and the B note is something like five minutes and twenty seconds."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "And since I'm a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "I followed that score for eight hours straight."}, {"id": "06", "sentence": "If something was interesting for a while, but didn't stay interesting, it had to go."}, {"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "I could have gone for something more 'correct' in terms of concept – I don't know, pure sine waves or something."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "But Vaast, for instance, refuses to regard it as his doing."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "Does it feel like that for you too: As your first 'real' album, as a statement?"}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "I guess I am aiming for the best of both worlds there."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "On this evening, 'Resonanz' will be the starting point for a Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "07", "sentence": "To complete the event we searched for two completely different approaches to composition."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "08", "sentence": "We decided to envision the framework for the installation as a three-dimensional staff to write down music."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it's use as a technology within her work."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called 'telephone adapters'."}, {"id": "10", "sentence": "By writing choreographies for software and computer elements, she utilises these technologies as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Software being processed creates its own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "11", "sentence": "The invitation was perfectly suited for a project in public space that he had in mind for 'Pushing Scores'."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "11", "sentence": "The work was installed for a period at The Small Museum – a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "He sees it as punk, experimental, noise, investigative and critical, searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "16", "sentence": "Derek Holzer was invited for the event 'PUSHING' on 20 Jan 2017."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "He is inspiring for a lot of performance-based composers."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "19", "sentence": "For 'Pushing Scores', we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "In a multicultural situation, abstract sounds are forms of recognition; then there is, for example, music."}, {"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}, {"id": "22", "sentence": "Anitation' is the term for animated notation."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}, {"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "26", "sentence": "The sonification of spider webs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}, {"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "27", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "27", "sentence": "It is important for companies to manage this."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "27", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "27", "sentence": "It's good for the human psyche to be reminded of that."}, {"id": "27", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them ."}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}, {"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}, {"id": "30", "sentence": "This not only counts for publishing but also for exploring new possibilities for artist practice in general."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "Spectral Arrows' is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}, {"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "absent": [{"id": "23", "sentence": "But how can we score something not present, yet also not absent?"}], "analog": [{"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}], "vinyl": [{"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "Peter brought six record players, matching the six colours of the vinyl nicely – two notes each."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "How do you perceive the function a piece of vinyl can have?"}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "07", "sentence": "Julia's solo live performances primarily refer to the modified vinyl records that produce extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}, {"id": "07", "sentence": "All had worked with the medium of the vinyl record and added a new use/application."}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}, {"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "presents": [{"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "07", "sentence": "TELCOSYSTEMS (NL) Telcosystems presents 'Resonanz', an electronic book combining a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "With 'Resonanz', Telcosystems presents an electronic book that combines a series of visual artworks and a sound publication."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "tuning": [{"id": "25", "sentence": "Her research focuses on the 'dialectic of tuning'."}], "der": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "consumer": [{"id": "20", "sentence": "Improper uses of consumer electronics (e.g."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}], "On": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "07", "sentence": "On this evening, 'Resonanz' will be the starting point for a Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "On the live oscilloscope concert Holzer states, 'The Vectorian Era opens with a screaming across the sky."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "29", "sentence": "On the spot, the audience could activate the UNI."}], "MIDI": [{"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}, {"id": "30", "sentence": "They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}, {"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}, {"id": "30", "sentence": "The end titles of many black MIDI videos display how many notes are in the piece."}, {"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "Studies": [{"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "are": [{"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "Later on, this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "04", "sentence": "They are intensified visual and audio perceptions in a specific space."}, {"id": "04", "sentence": "They are cheap dummy books, onto which he poured ink in several colors."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The commercial potential and its associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (of one or more people)."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "Software being processed creates its own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "12", "sentence": "Because of this ambiguity, we are interested in what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "17", "sentence": "The 'Event Scores' of George Brecht are still actual pieces."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "19", "sentence": "Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "In a multicultural situation, abstract sounds are forms of recognition; then there is, for example, music."}, {"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}, {"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "20", "sentence": "New generations are born."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "20", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}, {"id": "21", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "25", "sentence": "Her archival approach and its political and personal implications are the starting point of this work."}, {"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}, {"id": "26", "sentence": "When the webs are harvested, my hand affects their original form."}, {"id": "26", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "27", "sentence": "The sounds are environmental."}, {"id": "27", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "27", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "These questions are really haunting me ."}, {"id": "27", "sentence": "Through soundwaves geologists are able to map what is underground."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}, {"id": "30", "sentence": "People who make black MIDIs are known as 'blackers'."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "30", "sentence": "The end titles of many black MIDI videos display how many notes are in the piece."}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}, {"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}, {"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "Layne": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}], "Hot": [{"id": "24", "sentence": "Shena 'Dark Road' by Annie Lennox 'Delivery' by Babyshambles 'Desecration Smile' by Red Hot Chili Peppers 'Destination Calabria' by Alex Gaudino feat."}], "elements": [{"id": "06", "sentence": "Sometimes I preferred elements because of harmonic information, notes that work well together, sometimes because of rhythms that worked well, etc."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "By writing choreographies for software and computer elements, she utilises these technologies as actors in software/noise pieces for, and in, computers."}, {"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}, {"id": "24", "sentence": "He usually uses multimedia elements."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "animated": [{"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "21", "sentence": "This means animated notation."}, {"id": "22", "sentence": "Anitation' is the term for animated notation."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}], "characters": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "Bottle": [{"id": "24", "sentence": "Patrick Stump 'Curvy Cola Bottle Body' by Chico 'D.A.N.C.E."}], "tenth": [{"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}], "direct": [{"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}], "varied": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}], "railway": [{"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}], "cts": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "joined": [{"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}], "shy": [{"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}], "fits": [{"id": "22", "sentence": "The idea of 'anitation' and the work of Guðmundur Steinn Gunnarsson fits perfectly within 'Pushing Scores'."}, {"id": "25", "sentence": "Ana Guedes' project 'UNTITLED RECORDS' fits into our idea of finding new ways to compose very seamlessly."}], "Valentina": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART x JUBILEE event in 2017."}, {"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}, {"id": "10", "sentence": "VALENTINA VUKSIC (CH/NL) Valentina Vuksic is a computer artist and programmer based in Zürich."}], "Ziegler": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "create": [{"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "16", "sentence": "In the early 1960s, the composer Morton Subotnik employed engineer Don Buchla to help him create 'the music of the future'."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "greatly": [{"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}], "mediation": [{"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}], "Writers": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "My": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "by Band Aid 'Do Without My Love' by Nathan [UK] 'Do You Know?"}], "Abuse": [{"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}], "Vectrex": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}], "Stained": [{"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "Europe": [{"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}], "screen": [{"id": "21", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "Instead of using traditional musical scores during the performance, the musicians follow specific instructions that move across a computer screen."}], "avant-garde": [{"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "his": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Every aspect of his work deals with the quality of sound."}, {"id": "04", "sentence": "RAFAËL ROZENDAAL (NL) Rafaël Rozendaal is a visual artist who uses the Internet as his canvas."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}, {"id": "04", "sentence": "For this event he will work with a film projection and a synthesizer, which he influences with his brainwaves."}, {"id": "04", "sentence": "At every level of detail, the everyday sound of our urban surroundings is the focus of his work."}, {"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}, {"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}, {"id": "06", "sentence": "Interestingly, he thought his resulting collages would be nice to use as scores – and they probably would have been."}, {"id": "06", "sentence": "This is an interview with Kris Delacourt (Remörk) on his practice and the 'Principium' story."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "06", "sentence": "But Vaast, for instance, refuses to regard it as his doing."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpart to his own musical input."}, {"id": "13", "sentence": "Remco van Bladel grew up in the record store of his father."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "It was an investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "19", "sentence": "For example, his work 'frakativ' is an electronic visual sound poetry performance."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}, {"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "21", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "22", "sentence": "This technique of composing is performed by Guðmundur Steinn Gunnarsson and his quartet Fersteinn."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson has been part of DE PLAYER's programme with his quartet Fersteinn several times."}, {"id": "22", "sentence": "This Icelandic quartet plays with little analogue instruments and animation scores Gunnarsson made on his computer."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}, {"id": "22", "sentence": "He runs his own multi-instrumentalist quartet called Fersteinn."}, {"id": "23", "sentence": "Before the song there was the yodel,' As Bart Plantenga stated in his reading on yodeling."}, {"id": "24", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}, {"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}, {"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}, {"id": "24", "sentence": "Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "27", "sentence": "He also expanded his archive with all related logistic processes."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "Benny Nilsen approached us with his project 'ORE'."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}, {"id": "28", "sentence": "Since the beginning of his practice, he has made extensive use of recorded sound."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "28", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "31", "sentence": "From this perspective, his live performances can also be considered as black mass implosions."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}], "not": [{"id": "04", "sentence": "It’s not a matter of an event between spectators and a musician– it’s a space to submit to a process."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "DE PLAYER: Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Kris Delacourt: Not really, at least not in this case."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it's own."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "07", "sentence": "In the case of the 'prepared record', the record or musical piece is not used as a reproductive technique."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "11", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}, {"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "18", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "23", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}, {"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}, {"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "27", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "27", "sentence": "It's not iron ore but lignite, 'braunkohle'."}, {"id": "27", "sentence": "It's not like wind or the sun, which give you immediate energy."}, {"id": "27", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "27", "sentence": "In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it ."}, {"id": "27", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "27", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "30", "sentence": "This not only counts for publishing but also for exploring new possibilities for artist practice in general."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "maker": [{"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}], "Tennis": [{"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}], "Plasticism": [{"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}], "Amsterdam-based": [{"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}], "opposed": [{"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}], "Gallery": [{"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}], "things": [{"id": "06", "sentence": "Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "06", "sentence": "Art is letting things go, let it flow."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "That's just another way of letting things go, of giving up control."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "20", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "22", "sentence": "In that way, the most irregular things can become very intelligible."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}], "CH": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "10", "sentence": "VALENTINA VUKSIC (CH/NL) Valentina Vuksic is a computer artist and programmer based in Zürich."}], "Chen": [{"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "volume": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}], "refining": [{"id": "27", "sentence": "I'm always processing and refining my field recordings."}], "represented.We": [], "specific": [{"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "04", "sentence": "They are intensified visual and audio perceptions in a specific space."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages throughout its history: 1."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "19", "sentence": "For this he developed specific software that generates poetry in spoken-word form."}, {"id": "21", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "Instead of using traditional musical scores during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}], "handle": [{"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}], "access": [{"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}], "session": [{"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp-based artists to contribute to the project."}, {"id": "27", "sentence": "For this event, Kahn did some kind of improvisation session on the works of the three invited artists."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}], "smaller": [{"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}], "bookbinding": [{"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}], "unite": [{"id": "02", "sentence": "This was put in place to both limit possibilities and to unite the format."}], "modernist": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}], "Morning": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "called": [{"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "08", "sentence": "The initiatives gather within a part of the programme called 'Intersections'."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called 'telephone adapters'."}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}, {"id": "18", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called 'cheironmy'."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "21", "sentence": "Fersteinn works with the method of so-called 'animation'."}, {"id": "22", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "22", "sentence": "He runs his own multi-instrumentalist quartet called Fersteinn."}, {"id": "27", "sentence": "She still stores coal there in a small outhouse (called 'kullbingen')."}, {"id": "31", "sentence": "One of Marco's most-known projects is called 'Black Mass Implosion'."}], "ninty-three": [{"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}], "hopefully": [{"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}], "P": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Many": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "Embodiment": [{"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}], "sundown": [{"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "PRESENTATION": [{"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}], "within": [{"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "04", "sentence": "These books were the starting point for curating the event, which subsequently sat within our 'Pushing Scores' project."}, {"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "08", "sentence": "The initiatives gather within a part of the programme called 'Intersections'."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it's use as a technology within her work."}, {"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "It was an investigation into methodologies within his own artistic practice."}, {"id": "22", "sentence": "The idea of 'anitation' and the work of Guðmundur Steinn Gunnarsson fits perfectly within 'Pushing Scores'."}, {"id": "24", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}], "rise": [{"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}], "festival": [{"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "and took part in founding its festival Sláturtíð."}], "Eamon": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "right": [{"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "They're just new pieces in their own right."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}], "VAN": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}], "Roman": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}], "goes": [{"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "27", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}], "mineral": [{"id": "27", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}], "these": [{"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Metrostation Maashaven."}, {"id": "02", "sentence": "All these scores then had to come together in one magazine/object."}, {"id": "06", "sentence": "He then reassembled these line segments into new shapes and new lines."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts."}, {"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "10", "sentence": "By writing choreographies for software and computer elements, she utilises these technologies as actors in software/noise pieces for, and in, computers."}, {"id": "13", "sentence": "Yet these alternate approaches brought us together and made 'Pushing Scores' real."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "24", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}, {"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "distils": [{"id": "26", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}], "myths": [{"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}, {"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}], "world": [{"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "He opens up the artistic field to explore what is happening in the art world."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}, {"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "22", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "27", "sentence": "In practice it's quite mathematical, but it still it is part of the sound world too."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}], "explore": [{"id": "05", "sentence": "He opens up the artistic field to explore what is happening in the art world."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}], "although": [{"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it's own."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}], "Milan": [{"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}], "Potter": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "sheer": [{"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}], "clue": [{"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}], "run": [{"id": "05", "sentence": "The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded."}, {"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "05", "sentence": "This print run is to be seen as a performative action."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}], "stand": [{"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "events": [{"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}], "students": [{"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "02", "sentence": "We proposed to the students that they devise an issue of our publication Tetra Gamma Circulaire."}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}], "laptop.Derek": [], "Icelandic": [{"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "This Icelandic quartet plays with little analogue instruments and animation scores Gunnarsson made on his computer."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}], "exact": [{"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}], "linear": [{"id": "27", "sentence": "The composition follows a more or less linear path, starting with 'deep' time."}, {"id": "27", "sentence": "The composition follows a more or less linear path – starting with deep time."}], "mainly": [{"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "28", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}], "Affair": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "selection": [{"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}], "often": [{"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "15", "sentence": "Holzer often works through a long, rigorous process of self-education in electronics."}, {"id": "22", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "24", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "26", "sentence": "Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "Duncan also often works with Carl Michael Hausswolff, who is an expert in EVP."}], "framework": [{"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "08", "sentence": "We decided to envision the framework for the installation as a three-dimensional staff to write down music."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}], "served": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "31", "sentence": "Good food and drinks were served."}], "references": [{"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}], "desolate": [{"id": "27", "sentence": "The landscape is fairly untouched, it is scarcely populated, it's desolate."}, {"id": "27", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "27", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}], "Her": [{"id": "10", "sentence": "Her score was made on the spot with programming language; a sort of live coding."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "25", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "25", "sentence": "Her archival approach and its political and personal implications are the starting point of this work."}, {"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}], "Does": [{"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "Does it feel like that for you too: As your first 'real' album, as a statement?"}], "logical": [{"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}], "carefully": [{"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}], "ethical": [{"id": "05", "sentence": "What emotions and ethical choices guide an artist in a process of continuous change?"}], "explain": [{"id": "10", "sentence": "Varia will host the evening, and explain their ideas and approach to developing the archive."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}], "Want": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "message": [{"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "African": [{"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}], "UNTITLED": [{"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "25", "sentence": "Ana Guedes' project 'UNTITLED RECORDS' fits into our idea of finding new ways to compose very seamlessly."}], "aim": [{"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}], "Intersections": [{"id": "08", "sentence": "The initiatives gather within a part of the programme called 'Intersections'."}], "Cobra": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "Kittler": [{"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}], "articulate": [{"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}], "reader": [{"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}], "Goddess": [{"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}], "join": [{"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}], "actuality": [{"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}], "self-structuring": [{"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}], "ten-minute": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}], "mind": [{"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "11", "sentence": "The invitation was perfectly suited for a project in public space that he had in mind for 'Pushing Scores'."}], "student": [{"id": "02", "sentence": "Each student had to develop their own project around the process of making a score."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}], "asked": [{"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}], "psyche": [{"id": "27", "sentence": "It's good for the human psyche to be reminded of that."}], "fast-paced": [{"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "Join": [{"id": "06", "sentence": "Join the community."}], "existed": [{"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "calls": [{"id": "12", "sentence": "He calls this chapter 'Represent' because it is the project of the executive."}], "presentations": [{"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}], "advertised": [{"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}], "thesis": [{"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}], "Bon": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "serve": [{"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}], "thick": [{"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "27", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "Guido": [{"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "In the eleventh century, Guido van Arezo introduced the staff with four lines (this is still in use)."}], "variety": [{"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained."}], "technician": [{"id": "09", "sentence": "JOHANNES BERGMARK (SE) Johannes Bergmark is a Fylkingen-affiliated sound artist, instrument builder and piano technician."}], "Johannes": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "JOHANNES BERGMARK (SE) Johannes Bergmark is a Fylkingen-affiliated sound artist, instrument builder and piano technician."}, {"id": "24", "sentence": "Johannes Kreidler is a special case when it comes to composing."}, {"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}, {"id": "24", "sentence": "Johannes Kreidler is a composer and concept and media artist."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}], "way": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "06", "sentence": "Pretty nonsensical in a way, but it produced a really beautiful, and quite fragile, result."}, {"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "In this way you would end up with all different records, each one an original."}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "That's just another way of letting things go, of giving up control."}, {"id": "10", "sentence": "It was a good concert and her way of working fit into our ideas of exploring graphic scores very well."}, {"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "12", "sentence": "It was particularly of interested to us because of the way in which he focuses on the reproduction of music."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}, {"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "22", "sentence": "In that way, the most irregular things can become very intelligible."}, {"id": "24", "sentence": "His way of composing has a multimedia conceptual approach, which is mostly linked with processes in society."}, {"id": "25", "sentence": "This 'other way' to come to sound is an interesting phenomenon."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "It just turned out that way, perhaps because that's how we generally tend to structure material."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}], "speakers": [{"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}], "Heinz": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "Synthesia": [{"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "iron": [{"id": "06", "sentence": "It's an iron board and it has the same visuals as the sticker sheets."}, {"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "27", "sentence": "It's not iron ore but lignite, 'braunkohle'."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "27", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}], "appealing": [{"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "There's something appealing in using a single octave as a building block."}, {"id": "06", "sentence": "There’s something appealing in the number twelve even, and there's the appeal of building instruments too."}], "Arctic": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "27", "sentence": "I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "27", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them ."}, {"id": "27", "sentence": "The Arctic is changing quickly."}], "Schematics": [{"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}], "displacement": [{"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "obsolete": [{"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}], "vector": [{"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}], "BJ": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}, {"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "27", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "27", "sentence": "Mining' by BJ Nilsen, 'Jazz' by Max Franklin and 'Earthquake' by Aurelie Lierman."}], "remind": [{"id": "26", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}], "backgrounds": [{"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}], "expression": [{"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "20", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}], "About": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "band/art": [{"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}], "fabulation": [{"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}], "redefine": [{"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}], "designers": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "guest": [{"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}], "studied": [{"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}, {"id": "24", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}], "stones": [{"id": "27", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "beyond": [{"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}], "resistance": [{"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}], "performances": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Julia's solo live performances primarily refer to the modified vinyl records that produce extraordinary sounds."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "26", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "31", "sentence": "Spectral Arrows' is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "31", "sentence": "From this perspective, his live performances can also be considered as black mass implosions."}], "being": [{"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "10", "sentence": "Software being processed creates its own temporal and spatial dimensions, which are staged for a public."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}], "alternative": [{"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}], "Reykjavík": [{"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}], "editorial": [{"id": "04", "sentence": "His studio work focuses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "His studio focuses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}], "computers": [{"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}, {"id": "10", "sentence": "By writing choreographies for software and computer elements, she utilises these technologies as actors in software/noise pieces for, and in, computers."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}], "infinite": [{"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}], "Pfizer": [{"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}], "rethinker": [{"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}], "decoding": [{"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}], "specialising": [{"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}], "soundings": [{"id": "27", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}], "LAFMS": [{"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}], "paper": [{"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "26", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "29", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}], "How": [{"id": "06", "sentence": "How do you do that?"}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "How do you perceive the function a piece of vinyl can have?"}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "27", "sentence": "How much influence does it have on a community?"}, {"id": "27", "sentence": "In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it ."}], "Spoon": [{"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}], "http": [{"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Office": [{"id": "06", "sentence": "Office material really, those colourful little dots."}], "Feb": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "conventional": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}], "story": [{"id": "06", "sentence": "This is an interview with Kris Delacourt (Remörk) on his practice and the 'Principium' story."}, {"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "As mentioned, this is the short version, can you give me the full story?"}], "types": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "Different types of stone give different frequency readings."}], "Bennet": [{"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}], "instrumentation": [{"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}], "belief": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}], "surroundings": [{"id": "04", "sentence": "At every level of detail, the everyday sound of our urban surroundings is the focus of his work."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}], "tangible": [{"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}], "sequencers": [{"id": "30", "sentence": "They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}], "Wales": [{"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "metals": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "six-notes": [{"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}], "relevance": [{"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}], "progeny": [{"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}], "fragments": [{"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}], "Gawker": [{"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "Gramophone": [{"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}], "XPUB": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "develops": [{"id": "04", "sentence": "Within it, he develops the reciprocity of music and architecture, and of sound and image."}, {"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}], "Change": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "informed": [{"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}], "Timisoara": [{"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "Ingi": [{"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "arriving": [{"id": "28", "sentence": "The medium of radio still plays a role in arriving at compositions."}], "Drip": [{"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}], "language-based": [{"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}], "any": [{"id": "02", "sentence": "This is a magazine without any format, with the intention for a new one to be developed each time."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, which determines the rhythm."}, {"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "11", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "18", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}], "booklet": [{"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}], "dub-cut": [{"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}], "23:00": [{"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}], "environmental": [{"id": "27", "sentence": "The sounds are environmental."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}], "Traffic": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "fear": [{"id": "06", "sentence": "I guess that fear was much more of an issue with DOB Records."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}], "trapped": [{"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}], "chemicals": [{"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}], "ELECTRONIC": [{"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}], "nightmare": [{"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}], "inscriptions": [{"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}], "family": [{"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}], "Kees": [{"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}], "interpreted": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}], "Emptiness": [{"id": "23", "sentence": "Emptiness has that same relation with notation."}], "suited": [{"id": "11", "sentence": "The invitation was perfectly suited for a project in public space that he had in mind for 'Pushing Scores'."}], "looked": [{"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}], "emissions": [{"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}], "unconventional": [{"id": "22", "sentence": "It results in very delicate and unconventional chamber music."}]} +{"Age": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "yet": [{"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "23", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "horribly": [{"id": "27", "sentence": "Sometimes this can go horribly wrong."}], "major": [{"id": "06", "sentence": "The improvisation might be one of the major flaws, actually, conceptually speaking."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "20", "sentence": "Signification also plays a major role in this."}, {"id": "20", "sentence": "The analogue and virtual voice play a major role in this."}], "sewing": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}], "copies": [{"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}], "kullbingen": [{"id": "27", "sentence": "She still stores coal there in a small outhouse (called 'kullbingen')."}], "creative": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "06", "sentence": "But it's still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process as navigating its actualisation."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "facade": [{"id": "11", "sentence": "The work was installed for a period at The Small Museum – a cabinet on the facade of Paradiso, Amsterdam."}], "trace": [{"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "stand-alone": [{"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}], "punk": [{"id": "13", "sentence": "He sees it as punk, experimental, noise, investigative and critical, searching for dissonance and ordering of information, for rhythm and tonality."}], "tens": [{"id": "06", "sentence": "So the C note runs for tens minutes and the B note is something like five minutes and twenty seconds."}], "products": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "FL": [{"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "pz": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "tangibility": [{"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}], "interior": [{"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}], "19": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}], "Moving": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}], "disappearance": [{"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}], "expression": [{"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "20", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}], "Guðmundur": [{"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "21", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "22", "sentence": "This technique of composing is performed by Guðmundur Steinn Gunnarsson and his quartet Fersteinn."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson has been part of DE PLAYER's programme with his quartet Fersteinn several times."}, {"id": "22", "sentence": "The idea of 'anitation' and the work of Guðmundur Steinn Gunnarsson fits perfectly within 'Pushing Scores'."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "stated": [{"id": "23", "sentence": "Before the song there was the yodel,' As Bart Plantenga stated in his reading on yodeling."}], "interact": [{"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}], "determined": [{"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}], "Chill": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Better": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "references": [{"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}], "Grinder": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "said": [{"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "DE PLAYER: Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}], "Novalis": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "exact": [{"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}], "performing": [{"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "30", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}], "honest": [{"id": "06", "sentence": "That's quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}], "Cowboy": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "Friends": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Plus": [{"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}], "TV": [{"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "32", "sentence": "Christine Cornwell is a composer and violinist working between NL/UK with projects involving improvisation and collaborative work often combined with visual artists, dancers, opera companies or experimental TV."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "Noordt": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "k": [{"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}], "read": [{"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "27", "sentence": "Geologists read the stone, but they also listen to it."}], "James": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "goal": [{"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "desire": [{"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}], "run": [{"id": "05", "sentence": "The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded."}, {"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "05", "sentence": "This print run is to be seen as a performative action."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}], "layers": [{"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "27", "sentence": "I'm very interested in the hidden layers and history the landscape."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "27", "sentence": "We can see layers of hematite."}, {"id": "32", "sentence": "Christine Cornwell one dot = one degree / one step / one word spoken This piece explores different layers of interpretation taken from the starting point of any archive-text-score."}], "official": [{"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}], "planning": [{"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}], "amount": [{"id": "27", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}], "bookbinding": [{"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}], "telephone": [{"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called 'telephone adapters'."}, {"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}], "Verge": [{"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "speak": [{"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to Morse code."}, {"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}], "John": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "John Duncan took part in our event on 5 Oct 2018."}, {"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}], "stereotypical": [{"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}], "shape": [{"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the working process."}, {"id": "20", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}], "enabled": [{"id": "32", "sentence": "Robert Kroos made a setup that enabled him to respond to a multitude of parameters."}], "announcement": [{"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "31", "sentence": "A huge public announcement system was in the office blazing loud, but very articulated sound."}], "four": [{"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "11", "sentence": "In the eleventh century, Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages throughout its history: 1."}, {"id": "27", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}], "repetition": [{"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}], "ut": [{"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}], "Earth": [{"id": "27", "sentence": "Far down in the Earth the rock is actually moving."}], "surrealist": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "entitled": [{"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "24", "sentence": "According to Kreidler, the action, entitled 'Fremdarbeit', is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "She presented her project entitled 'Arachnes Sonifier', in which she captures and makes audible spider webs."}], "Stefani": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "footwork": [{"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}], "astonished": [{"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "Tiesto": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "tapestry": [{"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}], "wailing": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "1943": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}], "Corner": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}], "busy": [{"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}], "Steal": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "parameters": [{"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "32", "sentence": "Robert Kroos made a setup that enabled him to respond to a multitude of parameters."}], "Bologna": [{"id": "28", "sentence": "He is currently a sound designer at the Art Academy of Bologna, Italy."}], "deeply": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}], "dirty": [{"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "15", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}], "online": [{"id": "19", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "listen": [{"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "That's quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "27", "sentence": "Geologists read the stone, but they also listen to it."}], "ran": [{"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}], "adventurous": [{"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}], "widely": [{"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}], "music": [{"id": "01", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "Throughout 2016, 2017 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "Later on, this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "04", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "Within it, he develops the reciprocity of music and architecture, and of sound and image."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "07", "sentence": "The usual code of the record, as defined by the music industry, was broken in all works."}, {"id": "08", "sentence": "We decided to envision the framework for the installation as a three-dimensional staff to write down music."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "As another example, Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}, {"id": "11", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "It was particularly of interested to us because of the way in which he focuses on the reproduction of music."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages throughout its history: 1."}, {"id": "12", "sentence": "It refers to the era of printed music (1500–1900)."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Because of this ambiguity, we are interested in what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "In the early 1960s, the composer Morton Subotnik employed engineer Don Buchla to help him create 'the music of the future'."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "18", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "20", "sentence": "In a multicultural situation, abstract sounds are forms of recognition; then there is, for example, music."}, {"id": "20", "sentence": "Subcultures form through music."}, {"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}, {"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "It results in very delicate and unconventional chamber music."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "22", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "23", "sentence": "I think silence has that same relation with music."}, {"id": "24", "sentence": "His work is described as conceptual music."}, {"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}, {"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}, {"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "26", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}, {"id": "28", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "32", "sentence": "Robert Kroos (aka Duckfood) is a Rotterdam based musician, sound-artist and DJ working on all kinds of sound- and music related projects."}, {"id": "32", "sentence": "Niek built an interactive installation, which can be summarized as a portable music staff where the actual scores/notes were hung on like a washing line."}], "metres": [{"id": "24", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "27", "sentence": "If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste."}], "DOB094": [{"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}], "facets": [{"id": "27", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}], "an": [{"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "02", "sentence": "We proposed to the students that they devise an issue of our publication Tetra Gamma Circulaire."}, {"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "It’s not a matter of an event between spectators and a musician– it’s a space to submit to a process."}, {"id": "04", "sentence": "JUSTIN BENNETT (UK) Justin Bennett is an artist working with sound and visual media."}, {"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is also an art book publisher (Onomatopee, Eindhoven, and WdW Review, Rotterdam)."}, {"id": "05", "sentence": "We have known Vaast Colson to be an interesting artist for quite some time already."}, {"id": "05", "sentence": "This can be a performance, an object, a book or whatever other form he settles on."}, {"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "05", "sentence": "What emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "It was presented at Stadslimiet, Antwerp, as an installation piece on 2 Jul 2015."}, {"id": "06", "sentence": "This is an interview with Kris Delacourt (Remörk) on his practice and the 'Principium' story."}, {"id": "06", "sentence": "The interview was conducted after he exhibited 'Principium 2.0' in an installation setting at Stadslimiet, Antwerp."}, {"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "It's an iron board and it has the same visuals as the sticker sheets."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}, {"id": "06", "sentence": "In this way you would end up with all different records, each one an original."}, {"id": "06", "sentence": "Yet I felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job designing the packaging."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB Records."}, {"id": "06", "sentence": "DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "TELCOSYSTEMS (NL) Telcosystems presents 'Resonanz', an electronic book combining a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "With 'Resonanz', Telcosystems presents an electronic book that combines a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "Resonanz' is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}, {"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "09", "sentence": "Transmitted through a beamer and an audio system, everything becomes visible and audible."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (of one or more people)."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}, {"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}, {"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "It was an investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "For example, his work 'frakativ' is an electronic visual sound poetry performance."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}, {"id": "20", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}, {"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "25", "sentence": "This 'other way' to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}, {"id": "27", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "27", "sentence": "It is a vast scar in the landscape, and really an incredible place."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}, {"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "27", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "27", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "27", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "27", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "28", "sentence": "Duncan also often works with Carl Michael Hausswolff, who is an expert in EVP."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "In that sense, there is never a perfect reproduction but always an interpretation."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}, {"id": "31", "sentence": "Spectral Arrows' is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}, {"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}, {"id": "32", "sentence": "Varia contributed by developing an archival web publication where the vernacular vocabulary of De Player creates the possibilities of text-based navigation across the collection of items."}, {"id": "32", "sentence": "Navigating within the data structure of the archive becomes an act of score notation, and is thus based on subjective association and drifting."}, {"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}, {"id": "32", "sentence": "Niek built an interactive installation, which can be summarized as a portable music staff where the actual scores/notes were hung on like a washing line."}, {"id": "32", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}], "Every": [{"id": "04", "sentence": "Every aspect of his work deals with the quality of sound."}], "chronology": [{"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}], "systems": [{"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called 'telephone adapters'."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}], "34": [{"id": "27", "sentence": "Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34."}], "move": [{"id": "21", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "Instead of using traditional musical scores during the performance, the musicians follow specific instructions that move across a computer screen."}], "utilises": [{"id": "10", "sentence": "By writing choreographies for software and computer elements, she utilises these technologies as actors in software/noise pieces for, and in, computers."}], "sorts": [{"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}], "cantorum": [{"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "11", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "18", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}], "CRT": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}], "undertakes": [{"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}], "questions": [{"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: What power does art have to change us and our society?"}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}, {"id": "27", "sentence": "These questions are really haunting me ."}], "outsourcing": [{"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}], "walls": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "Well": [{"id": "06", "sentence": "Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "Well, a little… Two years, actually."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}], "unchanged": [{"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "Know": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}, {"id": "24", "sentence": "by Band Aid 'Do Without My Love' by Nathan [UK] 'Do You Know?"}], "features": [{"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}], "accessibility": [{"id": "04", "sentence": "These works deal with continuity and endless accessibility."}], "Yourself": [{"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}], "lives": [{"id": "25", "sentence": "Ana Guedes is a multidisciplinary artist from Portugal who lives and works in the Hague."}, {"id": "27", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}], "What": [{"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "05", "sentence": "Colson's works examine core questions: What power does art have to change us and our society?"}, {"id": "05", "sentence": "What emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "What was the problem?"}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "27", "sentence": "What is the relationship between the sounds of mining and the community that surrounds them?"}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "27", "sentence": "What shifts will we see?"}, {"id": "27", "sentence": "What shifts happened in the past?"}], "will": [{"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Metrostation Maashaven."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "01", "sentence": "Throughout 2016, 2017 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "For this event he will work with a film projection and a synthesizer, which he influences with his brainwaves."}, {"id": "06", "sentence": "The final installation will have twelve separate pieces: A complete octave."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "On this evening, 'Resonanz' will be the starting point for a Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "For this evening event, 'Resonanz' will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will host the evening, and explain their ideas and approach to developing the archive."}, {"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "27", "sentence": "If you work against it, it will kill you."}, {"id": "27", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "27", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "27", "sentence": "What shifts will we see?"}, {"id": "29", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "32", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "32", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}], "Ayo": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}], "person": [{"id": "27", "sentence": "I am drawn to the Arctic as a sound person because of its relative remoteness."}], "09": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}], "name": [{"id": "06", "sentence": "At least, that's where the initial form and the name came from."}, {"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}], "direction": [{"id": "06", "sentence": ", that I went in that direction."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}], "Bank": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}], "Review": [{"id": "04", "sentence": "He is also an art book publisher (Onomatopee, Eindhoven, and WdW Review, Rotterdam)."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}], "Conlon": [{"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}], "expert": [{"id": "28", "sentence": "Duncan also often works with Carl Michael Hausswolff, who is an expert in EVP."}], "drinks": [{"id": "31", "sentence": "Good food and drinks were served."}], "found": [{"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}], "almost": [{"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "22", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "25", "sentence": "Because she uses and records the archive, the end result almost turns out to be a DJ set."}], "DOUGLAS": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}], "Can": [{"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "receiving": [{"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}], "sharing": [{"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "26", "sentence": "Knowledge sharing across traditions has often taken place through oral mythology."}], "got": [{"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "31", "sentence": "We got in touch with Marco Fusinato through our '8-INCH' series."}], "a": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC#3 is a particular kind of publishing platform engineered for sonic experiments, instruments and installations."}, {"id": "02", "sentence": "Some dare to say that it’s a kind of jukebox."}, {"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "02", "sentence": "This is a magazine without any format, with the intention for a new one to be developed each time."}, {"id": "02", "sentence": "Each student had to develop their own project around the process of making a score."}, {"id": "02", "sentence": "The result is a combination of several media, which all coexist in a designed concrete object."}, {"id": "02", "sentence": "It has a Raspberry Pi sits at its core, and is programmed for several applications."}, {"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}, {"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "It’s not a matter of an event between spectators and a musician– it’s a space to submit to a process."}, {"id": "04", "sentence": "RAFAËL ROZENDAAL (NL) Rafaël Rozendaal is a visual artist who uses the Internet as his canvas."}, {"id": "04", "sentence": "They are intensified visual and audio perceptions in a specific space."}, {"id": "04", "sentence": "His websites attract a large audience of over forty million unique visits per year."}, {"id": "04", "sentence": "FLORIS VANHOOF (BE) Floris Vanhoof is a filmmaker and musician from Belgium."}, {"id": "04", "sentence": "For this event he will work with a film projection and a synthesizer, which he influences with his brainwaves."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}, {"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "05", "sentence": "The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "05", "sentence": "This can be a performance, an object, a book or whatever other form he settles on."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "05", "sentence": "This print run is to be seen as a performative action."}, {"id": "05", "sentence": "It is a complex work that nevertheless manages to remain simple and accessible in its final execution."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be referred to as 'post-ironic'."}, {"id": "05", "sentence": "What emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}, {"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "He was intrigued by the invitation, but it took a long time to develop."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "Principium' comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "Pretty nonsensical in a way, but it produced a really beautiful, and quite fragile, result."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "As mentioned, the first version was a modified Casio keyboard."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "Well, a little… Two years, actually."}, {"id": "06", "sentence": "It's meant to be in a continued state of flux."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "And since I'm a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There's something appealing in using a single octave as a building block."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn't stay interesting, it had to go."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it's own."}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "How do you perceive the function a piece of vinyl can have?"}, {"id": "06", "sentence": "They were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "It really was a one-time event, with the vinyls functioning as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "But it's still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "Kris Delacourt: I do look at it as a solo thing."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process as navigating its actualisation."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "Does it feel like that for you too: As your first 'real' album, as a statement?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "And a statement..."}, {"id": "06", "sentence": "I don't think of it as a manifesto or anything."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "06", "sentence": "DE PLAYER: Do you see this as a drone record?"}, {"id": "06", "sentence": "Or as a collage record?"}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or perhaps you would perceive it as a failure if it weren't enjoyable without the concept?"}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "TELCOSYSTEMS (NL) Telcosystems presents 'Resonanz', an electronic book combining a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "On this evening, 'Resonanz' will be the starting point for a Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "With 'Resonanz', Telcosystems presents an electronic book that combines a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "On the live oscilloscope concert Holzer states, 'The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "Julia Bünnagel was also invited, under the guise of contributing a more physical input."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "In the case of the 'prepared record', the record or musical piece is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "All had worked with the medium of the vinyl record and added a new use/application."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}, {"id": "08", "sentence": "The initiatives gather within a part of the programme called 'Intersections'."}, {"id": "08", "sentence": "We decided to envision the framework for the installation as a three-dimensional staff to write down music."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it's use as a technology within her work."}, {"id": "09", "sentence": "JOHANNES BERGMARK (SE) Johannes Bergmark is a Fylkingen-affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "However, it was decided to start from the floppy disc as a medium."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the working process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "09", "sentence": "Transmitted through a beamer and an audio system, everything becomes visible and audible."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpart to his own musical input."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "It was a good concert and her way of working fit into our ideas of exploring graphic scores very well."}, {"id": "10", "sentence": "Her score was made on the spot with programming language; a sort of live coding."}, {"id": "10", "sentence": "VALENTINA VUKSIC (CH/NL) Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "Software being processed creates its own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "The invitation was perfectly suited for a project in public space that he had in mind for 'Pushing Scores'."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "11", "sentence": "The work was installed for a period at The Small Museum – a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer based in Amsterdam."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}, {"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "Holzer often works through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "He is inspiring for a lot of performance-based composers."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "18", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called 'cheironmy'."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "19", "sentence": "Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "19", "sentence": "For 'Pushing Scores', we invited him to make special work for a limited edition."}, {"id": "19", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "20", "sentence": "In a multicultural situation, abstract sounds are forms of recognition; then there is, for example, music."}, {"id": "20", "sentence": "Signification also plays a major role in this."}, {"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}, {"id": "20", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}, {"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}, {"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}, {"id": "21", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "21", "sentence": "Gunnarsson's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "21", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "21", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "22", "sentence": "Instead of using traditional musical scores during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}, {"id": "22", "sentence": "We also produced a limited polyurethane record with Fersteinn."}, {"id": "22", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "22", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "22", "sentence": "He also used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "Johannes Kreidler is a special case when it comes to composing."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}, {"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}, {"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}, {"id": "24", "sentence": "Johannes Kreidler is a composer and concept and media artist."}, {"id": "24", "sentence": "His way of composing has a multimedia conceptual approach, which is mostly linked with processes in society."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}, {"id": "24", "sentence": "Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'."}, {"id": "24", "sentence": "This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "Ana Guedes is a multidisciplinary artist from Portugal who lives and works in the Hague."}, {"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}, {"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "25", "sentence": "Because she uses and records the archive, the end result almost turns out to be a DJ set."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}, {"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}, {"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "26", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "26", "sentence": "The sonification of spider webs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}, {"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}, {"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "27", "sentence": "How much influence does it have on a community?"}, {"id": "27", "sentence": "The composition follows a more or less linear path, starting with 'deep' time."}, {"id": "27", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "27", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}, {"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "27", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "27", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "27", "sentence": "She still stores coal there in a small outhouse (called 'kullbingen')."}, {"id": "27", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "27", "sentence": "It is a vast scar in the landscape, and really an incredible place."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "That's why I wanted to have a thread about the regeneration of mining areas."}, {"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "27", "sentence": "If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste."}, {"id": "27", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "27", "sentence": "The composition follows a more or less linear path – starting with deep time."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "27", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "27", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "27", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "27", "sentence": "This was part of a test production of around 30,000 tons."}, {"id": "27", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "27", "sentence": "You have to take a boat to get there."}, {"id": "27", "sentence": "We have a tunnel that leads there."}, {"id": "27", "sentence": "In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it ."}, {"id": "27", "sentence": "It created a vacuum after it closed."}, {"id": "27", "sentence": "I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them ."}, {"id": "27", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "27", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "27", "sentence": "There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "27", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "27", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "27", "sentence": "It’s a kind of sound alchemy."}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}, {"id": "28", "sentence": "When we met we had discussions about several professional subjects and decided to realise a publication."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}, {"id": "28", "sentence": "He is currently a sound designer at the Art Academy of Bologna, Italy."}, {"id": "28", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}, {"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "29", "sentence": "Varia has developed a context and technical environment as a web-based archival publication."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "29", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}, {"id": "29", "sentence": "His presentation was a crossover between a lecture and a demonstration."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "30", "sentence": "In that sense, there is never a perfect reproduction but always an interpretation."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}, {"id": "30", "sentence": "This one is a pretty contemporary example and results in great imagery and sound."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}, {"id": "32", "sentence": "Pushing Scores website launch and performance evening At the end of 2018, De Player approached Varia to develop a web-publication for their Pushing Scores project archive, which resulted in the current website."}, {"id": "32", "sentence": "The project investigated the state of the arts of composing scores in a contemporary environment and spanned over 2-3 years."}, {"id": "32", "sentence": "The material is embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "32", "sentence": "To engage with this potential, De Player and Varia asked several artists to work with the tool and use the result as a starting point for a performance."}, {"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}, {"id": "32", "sentence": "Robert Kroos made a setup that enabled him to respond to a multitude of parameters."}, {"id": "32", "sentence": "He used a guzheng as a basis and then contact microphones to manipulate the sounds with software."}, {"id": "32", "sentence": "Robert Kroos (aka Duckfood) is a Rotterdam based musician, sound-artist and DJ working on all kinds of sound- and music related projects."}, {"id": "32", "sentence": "Niek built an interactive installation, which can be summarized as a portable music staff where the actual scores/notes were hung on like a washing line."}, {"id": "32", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}, {"id": "32", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "32", "sentence": "It invited anyone to follow simple instructions to create a spatial representation of different people's individual navigations through the archive."}, {"id": "32", "sentence": "Christine Cornwell is a composer and violinist working between NL/UK with projects involving improvisation and collaborative work often combined with visual artists, dancers, opera companies or experimental TV."}, {"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "worlds": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}, {"id": "06", "sentence": "I guess I am aiming for the best of both worlds there."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}], "plagiarise": [{"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}], "fly": [{"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}], "finest": [{"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}], "quickly": [{"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "27", "sentence": "The Arctic is changing quickly."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}], "grey": [{"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}], "environmental": [{"id": "27", "sentence": "The sounds are environmental."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}], "War": [{"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "Focusing": [{"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}], "Void": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}], "Moana": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}], "finding": [{"id": "25", "sentence": "Ana Guedes' project 'UNTITLED RECORDS' fits into our idea of finding new ways to compose very seamlessly."}, {"id": "26", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}], "familiar": [{"id": "01", "sentence": "Later on, this developed into the type of musical notation we are familiar with in Western music."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}], "Gert-Jan": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "smart": [{"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}], "giving": [{"id": "06", "sentence": "That's just another way of letting things go, of giving up control."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "20", "sentence": "Multilingualism is important in giving meaning to the things around us."}], "endless": [{"id": "04", "sentence": "These works deal with continuity and endless accessibility."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}], "bridge": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}], "days": [{"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}], "argentite": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "actors": [{"id": "10", "sentence": "By writing choreographies for software and computer elements, she utilises these technologies as actors in software/noise pieces for, and in, computers."}], "truck": [{"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}], "let": [{"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "Art is letting things go, let it flow."}], "grandmother": [{"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}], "editions": [{"id": "05", "sentence": "The making of editions can be understood in this context."}], "Our": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}], "Jamie": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Keane": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "trying": [{"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}, {"id": "26", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}], "structure": [{"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "21", "sentence": "Gunnarsson's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "It just turned out that way, perhaps because that's how we generally tend to structure material."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}, {"id": "32", "sentence": "Navigating within the data structure of the archive becomes an act of score notation, and is thus based on subjective association and drifting."}], "Whole": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "asteroid": [{"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}], "micro": [{"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "27", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics."}], "began": [{"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "31", "sentence": "Fusinato's 'Mass Black Implosion' series began in 2007."}], "various": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "20", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "24", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}], "micro-capacitors": [{"id": "27", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics."}], "Acts": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}], "vibratory": [{"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}], "Spoon": [{"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}], "what": [{"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "01", "sentence": "So what is the current state of the graphic score?"}, {"id": "05", "sentence": "He opens up the artistic field to explore what is happening in the art world."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "So that's what happened."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "12", "sentence": "Because of this ambiguity, we are interested in what this stage of music could represent."}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "27", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "27", "sentence": "Through soundwaves geologists are able to map what is underground."}, {"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}], "cassette": [{"id": "27", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "27", "sentence": "I had hundreds of cassette tapes, mostly TDK."}], "manage": [{"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "27", "sentence": "It is important for companies to manage this."}], "tuning": [{"id": "25", "sentence": "Her research focuses on the 'dialectic of tuning'."}], "age": [{"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}], "overlaps": [{"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}], "dubplate": [{"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}], "Curvy": [{"id": "24", "sentence": "Patrick Stump 'Curvy Cola Bottle Body' by Chico 'D.A.N.C.E."}], "Aurélie": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "shift": [{"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}], "fell": [{"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}], "Carl": [{"id": "28", "sentence": "Duncan also often works with Carl Michael Hausswolff, who is an expert in EVP."}], "Jason": [{"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "IRREGULAR": [{"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}], "logistically": [{"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}], "fast-paced": [{"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "aimed": [{"id": "09", "sentence": "Most projects are aimed at interaction with an audience (of one or more people)."}], "down": [{"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "08", "sentence": "We decided to envision the framework for the installation as a three-dimensional staff to write down music."}, {"id": "11", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "18", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "27", "sentence": "Far down in the Earth the rock is actually moving."}, {"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}], "promise": [{"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}], "challenged": [{"id": "26", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "covers": [{"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "guest": [{"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}], "articulate": [{"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}], "researcher": [{"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}, {"id": "32", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}], "Center": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}], "Economy": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}], "monster": [{"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}], "demonstrating": [{"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}], "perhaps": [{"id": "06", "sentence": "Or perhaps you would perceive it as a failure if it weren't enjoyable without the concept?"}, {"id": "27", "sentence": "It just turned out that way, perhaps because that's how we generally tend to structure material."}], "remind": [{"id": "26", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}], "only": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, which determines the rhythm."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "27", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "27", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "27", "sentence": "You can only survive there if you work with nature."}, {"id": "30", "sentence": "This not only counts for publishing but also for exploring new possibilities for artist practice in general."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}], "examine": [{"id": "05", "sentence": "Colson's works examine core questions: What power does art have to change us and our society?"}], "Communication": [{"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}], "Erik": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "2018": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "01", "sentence": "Throughout 2016, 2017 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "28", "sentence": "John Duncan took part in our event on 5 Oct 2018."}, {"id": "32", "sentence": "Pushing Scores website launch and performance evening At the end of 2018, De Player approached Varia to develop a web-publication for their Pushing Scores project archive, which resulted in the current website."}], "focal": [{"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}], "disciplines": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "navigating": [{"id": "06", "sentence": "Coming up with a concept can be as much a creative process as navigating its actualisation."}], "huge": [{"id": "27", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "31", "sentence": "A huge public announcement system was in the office blazing loud, but very articulated sound."}], "Churyumov": [{"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}], "Will": [{"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}, {"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}, {"id": "27", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}], "decorative": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "twenty-five": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}], "commodity": [{"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}], "exhibition": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}], "website": [{"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}, {"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "32", "sentence": "Pushing Scores website launch and performance evening At the end of 2018, De Player approached Varia to develop a web-publication for their Pushing Scores project archive, which resulted in the current website."}, {"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}], "PRESENTATION": [{"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}], "identity": [{"id": "13", "sentence": "He designed the publication and identity of the 'Aalto Natives' at the Finnish Pavilion of the 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "20", "sentence": "Cultural identity is therefore communicated through this."}, {"id": "20", "sentence": "The style and/or genre determine the identity."}], "physically": [{"id": "27", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "interweaving": [{"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}], "disturb": [{"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}], "perspex": [{"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}], "articulators": [{"id": "19", "sentence": "Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}], "parallelling": [{"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}], "Remco": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For this multi-vocal composition, Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "13", "sentence": "The entire 'Pushing Scores' project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer based in Amsterdam."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "13", "sentence": "Remco van Bladel grew up in the record store of his father."}], "Sun": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}], "Where": [{"id": "27", "sentence": "Where does mining stop?"}, {"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "displays": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "Guide": [{"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}], "curating": [{"id": "04", "sentence": "These books were the starting point for curating the event, which subsequently sat within our 'Pushing Scores' project."}, {"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}], "PUSHING": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "16", "sentence": "Derek Holzer was invited for the event 'PUSHING' on 20 Jan 2017."}], "Candyman": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Theories": [{"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}], "Wales": [{"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "windows": [{"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}], "had": [{"id": "02", "sentence": "Each student had to develop their own project around the process of making a score."}, {"id": "02", "sentence": "All these scores then had to come together in one magazine/object."}, {"id": "02", "sentence": "One restriction was decided upon: The scores had to be presented on floppy disc."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, which determines the rhythm."}, {"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "If something was interesting for a while, but didn't stay interesting, it had to go."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "Resonanz' is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "All had worked with the medium of the vinyl record and added a new use/application."}, {"id": "11", "sentence": "The invitation was perfectly suited for a project in public space that he had in mind for 'Pushing Scores'."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "27", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "27", "sentence": "I had hundreds of cassette tapes, mostly TDK."}, {"id": "28", "sentence": "When we met we had discussions about several professional subjects and decided to realise a publication."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}], "yodel": [{"id": "23", "sentence": "Before the song there was the yodel,' As Bart Plantenga stated in his reading on yodeling."}], "incentive": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}], "performs": [{"id": "21", "sentence": "Fersteinn usually performs in the quietest of settings."}], "Wiesbaden": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}], "variable": [{"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}], "artificial": [{"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}], "Press": [{"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}, {"id": "27", "sentence": "Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34."}], "travelled": [{"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}], "tantalite": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "quotes": [{"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}], "hanging": [{"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}], "Sevenfold": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Charts": [{"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}], "1973": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Breaking": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}], "flawed": [{"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}], "physics": [{"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology and national security."}], "viewer": [{"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}], "Buma": [{"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}], "scarcely": [{"id": "27", "sentence": "The landscape is fairly untouched, it is scarcely populated, it's desolate."}], "iconic": [{"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}], "volume": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}], "2014": [{"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "parts": [{"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "11", "sentence": "The work consists of two parts: 1."}], "its": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "02", "sentence": "It has a Raspberry Pi sits at its core, and is programmed for several applications."}, {"id": "05", "sentence": "It is a complex work that nevertheless manages to remain simple and accessible in its final execution."}, {"id": "05", "sentence": "The commercial potential and its associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process as navigating its actualisation."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Software being processed creates its own temporal and spatial dimensions, which are staged for a public."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages throughout its history: 1."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "22", "sentence": "and took part in founding its festival Sláturtíð."}, {"id": "25", "sentence": "Her archival approach and its political and personal implications are the starting point of this work."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "27", "sentence": "I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}, {"id": "32", "sentence": "The material is embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "highlights": [{"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}], "Touhou": [{"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}], "J": [{"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}], "setups": [{"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}], "Gris": [{"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}], "Suede": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "materials": [{"id": "27", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}], "earth": [{"id": "27", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}], "linked": [{"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "24", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "24", "sentence": "His way of composing has a multimedia conceptual approach, which is mostly linked with processes in society."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}], "explored": [{"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}], "institutions": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "settle": [{"id": "27", "sentence": "Why did people in the past settle in an environment like this?"}], "Wars": [{"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "count": [{"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}], "feedback": [{"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "them": [{"id": "01", "sentence": "Just so you can see them day and night, for roughly three weeks long."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "26", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "What is the relationship between the sounds of mining and the community that surrounds them?"}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}, {"id": "27", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "27", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them ."}, {"id": "27", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "Council": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "freelance": [{"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}], "developed": [{"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "Later on, this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "02", "sentence": "This is a magazine without any format, with the intention for a new one to be developed each time."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpart to his own musical input."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "19", "sentence": "For this he developed specific software that generates poetry in spoken-word form."}, {"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "The musique concrète, as developed by Henry at GRM, was made by magnetic tape."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "29", "sentence": "Varia has developed a context and technical environment as a web-based archival publication."}, {"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "Holiday": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "space": [{"id": "04", "sentence": "It’s not a matter of an event between spectators and a musician– it’s a space to submit to a process."}, {"id": "04", "sentence": "They are intensified visual and audio perceptions in a specific space."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "10", "sentence": "Vuksic considers the time and space of computer processing and memory as levels of reality."}, {"id": "11", "sentence": "The invitation was perfectly suited for a project in public space that he had in mind for 'Pushing Scores'."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}, {"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "engraved": [{"id": "05", "sentence": "The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself."}], "Stadslimiet": [{"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}, {"id": "06", "sentence": "It was presented at Stadslimiet, Antwerp, as an installation piece on 2 Jul 2015."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "The interview was conducted after he exhibited 'Principium 2.0' in an installation setting at Stadslimiet, Antwerp."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}], "viewed": [{"id": "24", "sentence": "This makes it particularly interesting when viewed from the perspective of experimentation and unorthodox composing."}], "sign": [{"id": "20", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}], "multidisciplinary": [{"id": "25", "sentence": "Ana Guedes is a multidisciplinary artist from Portugal who lives and works in the Hague."}], "stages": [{"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages throughout its history: 1."}], "Cars": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "converted": [{"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}], "Sonifier": [{"id": "26", "sentence": "She presented her project entitled 'Arachnes Sonifier', in which she captures and makes audible spider webs."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}], "propensity": [{"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "cover": [{"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}], "showed": [{"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}], "Filo": [{"id": "24", "sentence": "The Miami Project 'Anthem' by Filo & Peri feat."}], "transport": [{"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}], "pirate": [{"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "Analogue": [{"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "European": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}], "Live": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}], "solfège": [{"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}], "s": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "02", "sentence": "Some dare to say that it’s a kind of jukebox."}, {"id": "04", "sentence": "It’s not a matter of an event between spectators and a musician– it’s a space to submit to a process."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "05", "sentence": "Colson's works examine core questions: What power does art have to change us and our society?"}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "Principium 2.0' is then another piece in step with the principle of Colson's original 'Principium'."}, {"id": "06", "sentence": "At least, that's where the initial form and the name came from."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "It's an iron board and it has the same visuals as the sticker sheets."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}, {"id": "06", "sentence": "It's meant to be in a continued state of flux."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "So that's what happened."}, {"id": "06", "sentence": "Kris Delacourt: Oh, I think it's definitely something that's still evolving."}, {"id": "06", "sentence": "There's something appealing in using a single octave as a building block."}, {"id": "06", "sentence": "There’s something appealing in the number twelve even, and there's the appeal of building instruments too."}, {"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "That's quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it's own."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "But it's still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "There's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "That's just another way of letting things go, of giving up control."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "06", "sentence": "Kris Delacourt: I certainly do hope that it's enjoyable."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "It's strangely hypnotising."}, {"id": "07", "sentence": "Julia's solo live performances primarily refer to the modified vinyl records that produce extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it's use as a technology within her work."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "09", "sentence": "As another example, Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "21", "sentence": "Gunnarsson's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson has been part of DE PLAYER's programme with his quartet Fersteinn several times."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}, {"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}, {"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}, {"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "26", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "27", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "27", "sentence": "It's not iron ore but lignite, 'braunkohle'."}, {"id": "27", "sentence": "That's why I wanted to have a thread about the regeneration of mining areas."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}, {"id": "27", "sentence": "It just turned out that way, perhaps because that's how we generally tend to structure material."}, {"id": "27", "sentence": "It's absurd when you start to think about it."}, {"id": "27", "sentence": "So much time is compressed in this material and it's burned up in minutes."}, {"id": "27", "sentence": "It's not like wind or the sun, which give you immediate energy."}, {"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "The landscape is fairly untouched, it is scarcely populated, it's desolate."}, {"id": "27", "sentence": "It's good for the human psyche to be reminded of that."}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "27", "sentence": "In practice it's quite mathematical, but it still it is part of the sound world too."}, {"id": "27", "sentence": "It’s a kind of sound alchemy."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}, {"id": "31", "sentence": "One of Marco's most-known projects is called 'Black Mass Implosion'."}, {"id": "31", "sentence": "Fusinato's 'Mass Black Implosion' series began in 2007."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}, {"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}, {"id": "32", "sentence": "It invited anyone to follow simple instructions to create a spatial representation of different people's individual navigations through the archive."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "creation": [{"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "noise": [{"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}, {"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "10", "sentence": "By writing choreographies for software and computer elements, she utilises these technologies as actors in software/noise pieces for, and in, computers."}, {"id": "13", "sentence": "He sees it as punk, experimental, noise, investigative and critical, searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "NET": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}], "counterpart": [{"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpart to his own musical input."}], "Dr": [{"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}], "assemble": [{"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "Greatest": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}], "Festival": [{"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}], "More": [{"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}], "perception": [{"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}], "went": [{"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": ", that I went in that direction."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}], "Battle": [{"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "five": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "06", "sentence": "So the C note runs for tens minutes and the B note is something like five minutes and twenty seconds."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}], "Transylvania": [{"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}], "containing": [{"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "installations": [{"id": "02", "sentence": "TGC#3 is a particular kind of publishing platform engineered for sonic experiments, instruments and installations."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}], "described": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}, {"id": "24", "sentence": "His work is described as conceptual music."}], "science": [{"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}], "shorter": [{"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}], "vanBasco": [{"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "Scottish": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "Catch": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Buckminster": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "digitalcraft": [{"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}], "Marc": [{"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}], "Wall": [{"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}], "MAX": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}], "Sydney": [{"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "thirty-three": [{"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}], "JUSTIN": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "JUSTIN BENNETT (UK) Justin Bennett is an artist working with sound and visual media."}], "box": [{"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "11", "sentence": "An interactive graphic score/light box/kinetic work fixed inside the cabinet, and 2."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}], "Presley": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "Team 'Don't' by Elvis Presley With The Jordanaires 'Don't Dance' by Midas 'Don't Give It Up' by Siobhan Donaghy"}], "instrumentalise": [{"id": "25", "sentence": "Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation."}], "California-based": [{"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "inspiration": [{"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}], "Tata": [{"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "third": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "second": [{"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}, {"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}], "seemed": [{"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}], "vitality": [{"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}], "attract": [{"id": "04", "sentence": "His websites attract a large audience of over forty million unique visits per year."}], "switches": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}], "title": [{"id": "06", "sentence": "Principium' comes from the title of a project by Vaast Colson."}], "break": [{"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}], "co-curator": [{"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}], "Mind": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "cause": [{"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}], "Italian": [{"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}], "Drama": [{"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}], "Minogue": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "effectively": [{"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "TheTrustedComputer": [{"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "filtered": [{"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}], "everyday": [{"id": "04", "sentence": "At every level of detail, the everyday sound of our urban surroundings is the focus of his work."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}], "hardware": [{"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}], "Kylie": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Q": [{"id": "07", "sentence": "On this evening, 'Resonanz' will be the starting point for a Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "For this evening event, 'Resonanz' will be the starting point of Q&A, demonstration and live presentation."}], "vanished": [{"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}], "unceremoniously": [{"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "programs": [{"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}], "tune": [{"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}], "whatever": [{"id": "05", "sentence": "This can be a performance, an object, a book or whatever other form he settles on."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}], "fields": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called 'telephone adapters'."}], "Evelin": [{"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "microphones": [{"id": "05", "sentence": "The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called 'telephone adapters'."}, {"id": "32", "sentence": "He used a guzheng as a basis and then contact microphones to manipulate the sounds with software."}], "role": [{"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "20", "sentence": "Signification also plays a major role in this."}, {"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}, {"id": "20", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "20", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "28", "sentence": "The medium of radio still plays a role in arriving at compositions."}], "decade": [{"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "give": [{"id": "06", "sentence": "As mentioned, this is the short version, can you give me the full story?"}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "27", "sentence": "It's not like wind or the sun, which give you immediate energy."}, {"id": "27", "sentence": "Different types of stone give different frequency readings."}], "Mellotron": [{"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}], "Explorer": [{"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "rigorous": [{"id": "15", "sentence": "Holzer often works through a long, rigorous process of self-education in electronics."}], "drawing": [{"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "05", "sentence": "The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}], "pitches": [{"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}], "Ore": [{"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}], "flat-on-your-ass": [{"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}], "Lily": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "He": [{"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "He is also an art book publisher (Onomatopee, Eindhoven, and WdW Review, Rotterdam)."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "05", "sentence": "He opens up the artistic field to explore what is happening in the art world."}, {"id": "06", "sentence": "He was intrigued by the invitation, but it took a long time to develop."}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "He then reassembled these line segments into new shapes and new lines."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "12", "sentence": "He calls this chapter 'Represent' because it is the project of the executive."}, {"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}, {"id": "13", "sentence": "He designed the publication and identity of the 'Aalto Natives' at the Finnish Pavilion of the 57th Venice Biennale."}, {"id": "13", "sentence": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}, {"id": "13", "sentence": "He sees it as punk, experimental, noise, investigative and critical, searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}, {"id": "17", "sentence": "He is inspiring for a lot of performance-based composers."}, {"id": "19", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}, {"id": "22", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "22", "sentence": "He also used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "22", "sentence": "He runs his own multi-instrumentalist quartet called Fersteinn."}, {"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "24", "sentence": "He usually uses multimedia elements."}, {"id": "24", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "24", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}, {"id": "27", "sentence": "He also expanded his archive with all related logistic processes."}, {"id": "27", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "28", "sentence": "He is currently a sound designer at the Art Academy of Bologna, Italy."}, {"id": "28", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}, {"id": "32", "sentence": "He used a guzheng as a basis and then contact microphones to manipulate the sounds with software."}, {"id": "32", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}], "Nicolas": [{"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}], "interested": [{"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "12", "sentence": "It was particularly of interested to us because of the way in which he focuses on the reproduction of music."}, {"id": "12", "sentence": "Because of this ambiguity, we are interested in what this stage of music could represent."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "27", "sentence": "I'm very interested in the hidden layers and history the landscape."}], "Dark": [{"id": "24", "sentence": "Shena 'Dark Road' by Annie Lennox 'Delivery' by Babyshambles 'Desecration Smile' by Red Hot Chili Peppers 'Destination Calabria' by Alex Gaudino feat."}, {"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}], "initiative": [{"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}], "anybody": [{"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}], "DUPAC": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "Second": [{"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "Simpson": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Acrylic": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "dance": [{"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}, {"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}], "soundtracks": [{"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}], "Freiburg": [{"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}, {"id": "24", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}], "interdisciplinary": [{"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "occasionally": [{"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "pretty": [{"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "30", "sentence": "This one is a pretty contemporary example and results in great imagery and sound."}], "focusing": [{"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}], "driver": [{"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}], "Ping": [{"id": "24", "sentence": "The Ping Pong Song)' by Enrique Iglesias 'Doing It Right' by The Go!"}], "deconstruct": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}], "refer": [{"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "07", "sentence": "Julia's solo live performances primarily refer to the modified vinyl records that produce extraordinary sounds."}], "eight-hour": [{"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "Were there people who actually listened to the whole eight-hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}], "engage": [{"id": "32", "sentence": "To engage with this potential, De Player and Varia asked several artists to work with the tool and use the result as a starting point for a performance."}], "evolutionary": [{"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}], "flapping": [{"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}], "MIDITrail": [{"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "definitely": [{"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "Kris Delacourt: Oh, I think it's definitely something that's still evolving."}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "So more drone, definitely."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}], "MIDIPlayer": [{"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "written": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "11", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "18", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}], "Tin": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Mal": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "participated": [{"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}], "paper": [{"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "26", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "29", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}], "tutor": [{"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}], "coded": [{"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}], "Dave": [{"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}], "Get": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}], "Nguyen": [{"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}], "more": [{"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB Records."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I could have gone for something more 'correct' in terms of concept – I don't know, pure sine waves or something."}, {"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "So more drone, definitely."}, {"id": "07", "sentence": "Julia Bünnagel was also invited, under the guise of contributing a more physical input."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (of one or more people)."}, {"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "The composition follows a more or less linear path, starting with 'deep' time."}, {"id": "27", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "27", "sentence": "The composition follows a more or less linear path – starting with deep time."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "3D": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}], "organisations": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}], "unable": [{"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}], "67P": [{"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}], "witchcraft": [{"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}], "compositions": [{"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "21", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "21", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}, {"id": "26", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "Liar": [{"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}], "analytical": [{"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}], "thought": [{"id": "06", "sentence": "Interestingly, he thought his resulting collages would be nice to use as scores – and they probably would have been."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "26", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}], "Sagamihara": [{"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "annunciatory": [{"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}], "needed": [{"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "23", "sentence": "Before God needed to be invented there were man."}], "deep": [{"id": "27", "sentence": "The composition follows a more or less linear path, starting with 'deep' time."}, {"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "27", "sentence": "It doesn't relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "The composition follows a more or less linear path – starting with deep time."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}], "scales": [{"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}], "compose": [{"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "25", "sentence": "Ana Guedes' project 'UNTITLED RECORDS' fits into our idea of finding new ways to compose very seamlessly."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "commission": [{"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}, {"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}], "intended": [{"id": "06", "sentence": "They were intended as a release, and therefore a product, just as well."}, {"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "24", "sentence": "According to Kreidler, the action, entitled 'Fremdarbeit', is intended to focus attention on the themes of exploitation and authorship."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "German": [{"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "27", "sentence": "Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34."}], "wanted": [{"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "27", "sentence": "That's why I wanted to have a thread about the regeneration of mining areas."}, {"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}], "curious": [{"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}], "actual": [{"id": "17", "sentence": "The 'Event Scores' of George Brecht are still actual pieces."}, {"id": "29", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}, {"id": "32", "sentence": "Niek built an interactive installation, which can be summarized as a portable music staff where the actual scores/notes were hung on like a washing line."}], "01": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "performative": [{"id": "05", "sentence": "This print run is to be seen as a performative action."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}], "Remörk": [{"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}, {"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "This is an interview with Kris Delacourt (Remörk) on his practice and the 'Principium' story."}, {"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}], "resolutely": [{"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}], "synth": [{"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}], "Eyes": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Guedes": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "25", "sentence": "Ana Guedes is a multidisciplinary artist from Portugal who lives and works in the Hague."}, {"id": "25", "sentence": "Ana Guedes' project 'UNTITLED RECORDS' fits into our idea of finding new ways to compose very seamlessly."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}], "Aksiom": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "1970s": [{"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}], "phone": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "together": [{"id": "02", "sentence": "All these scores then had to come together in one magazine/object."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "Sometimes I preferred elements because of harmonic information, notes that work well together, sometimes because of rhythms that worked well, etc."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "Yet these alternate approaches brought us together and made 'Pushing Scores' real."}, {"id": "19", "sentence": "Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}, {"id": "27", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "speaker": [{"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "pioneering": [{"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}], "tend": [{"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}, {"id": "27", "sentence": "It just turned out that way, perhaps because that's how we generally tend to structure material."}], "station": [{"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}], "driving": [{"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}], "Charlotte": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "they": [{"id": "02", "sentence": "We proposed to the students that they devise an issue of our publication Tetra Gamma Circulaire."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "06", "sentence": "Interestingly, he thought his resulting collages would be nice to use as scores – and they probably would have been."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Kris Delacourt: The 10\" records have all been sold as well, so they sit somewhere in the middle."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "27", "sentence": "Were they forced up North by circumstances?"}, {"id": "27", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "32", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}], "hypnotising": [{"id": "07", "sentence": "It's strangely hypnotising."}], "few": [{"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "24", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "27", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}], "Pushing": [{"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "02", "sentence": "We worked around the ideas present in our 'Pushing Scores' project."}, {"id": "04", "sentence": "These books were the starting point for curating the event, which subsequently sat within our 'Pushing Scores' project."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "11", "sentence": "The invitation was perfectly suited for a project in public space that he had in mind for 'Pushing Scores'."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}, {"id": "13", "sentence": "The entire 'Pushing Scores' project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "Yet these alternate approaches brought us together and made 'Pushing Scores' real."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "19", "sentence": "For 'Pushing Scores', we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "22", "sentence": "The idea of 'anitation' and the work of Guðmundur Steinn Gunnarsson fits perfectly within 'Pushing Scores'."}, {"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}, {"id": "29", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}, {"id": "32", "sentence": "Pushing Scores website launch and performance evening At the end of 2018, De Player approached Varia to develop a web-publication for their Pushing Scores project archive, which resulted in the current website."}, {"id": "32", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}], "Represent": [{"id": "12", "sentence": "He calls this chapter 'Represent' because it is the project of the executive."}], "locations": [{"id": "27", "sentence": "Both in active mines and in the abandoned mines and buildings surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}], "V2": [{"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "Perfect": [{"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}], "February": [{"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}], "sphere": [{"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}], "Basically": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}], "history": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages throughout its history: 1."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "24", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "27", "sentence": "I'm very interested in the hidden layers and history the landscape."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "29", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}, {"id": "32", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}], "Designed": [{"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}], "roughly": [{"id": "01", "sentence": "Just so you can see them day and night, for roughly three weeks long."}], "teetered": [{"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "intrigued": [{"id": "06", "sentence": "He was intrigued by the invitation, but it took a long time to develop."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}], "unfortunately": [{"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}], "intuition": [{"id": "09", "sentence": "Jakobson has great reverence for intuition and it's use as a technology within her work."}], "Ray": [{"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}], "Frith": [{"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "interrupted": [{"id": "27", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "The sounds of nature are not often interrupted by other sounds."}], "shortwave": [{"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "best": [{"id": "01", "sentence": "His best ones."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "I guess I am aiming for the best of both worlds there."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "32", "sentence": "The material is embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "shifts": [{"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "27", "sentence": "What shifts will we see?"}, {"id": "27", "sentence": "What shifts happened in the past?"}], "ethical": [{"id": "05", "sentence": "What emotions and ethical choices guide an artist in a process of continuous change?"}], "with": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "01", "sentence": "Later on, this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "02", "sentence": "This is a magazine without any format, with the intention for a new one to be developed each time."}, {"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "Every aspect of his work deals with the quality of sound."}, {"id": "04", "sentence": "These works deal with continuity and endless accessibility."}, {"id": "04", "sentence": "For this event he will work with a film projection and a synthesizer, which he influences with his brainwaves."}, {"id": "04", "sentence": "JUSTIN BENNETT (UK) Justin Bennett is an artist working with sound and visual media."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}, {"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}, {"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "Principium 2.0' is then another piece in step with the principle of Colson's original 'Principium'."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "This is an interview with Kris Delacourt (Remörk) on his practice and the 'Principium' story."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "06", "sentence": "In this way you would end up with all different records, each one an original."}, {"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to Morse code."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "And since I'm a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "So I don’t think I've quite finished with it, no."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB Records."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "It really was a one-time event, with the vinyls functioning as a tool, yes."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process as navigating its actualisation."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "On the live oscilloscope concert Holzer states, 'The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "07", "sentence": "All had worked with the medium of the vinyl record and added a new use/application."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (of one or more people)."}, {"id": "09", "sentence": "As another example, Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}, {"id": "10", "sentence": "Her score was made on the spot with programming language; a sort of live coding."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "11", "sentence": "For this multi-vocal composition, Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "11", "sentence": "In the eleventh century, Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "The entire 'Pushing Scores' project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}, {"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}, {"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "18", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "21", "sentence": "Fersteinn works with the method of so-called 'animation'."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson has been part of DE PLAYER's programme with his quartet Fersteinn several times."}, {"id": "22", "sentence": "This Icelandic quartet plays with little analogue instruments and animation scores Gunnarsson made on his computer."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}, {"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}, {"id": "22", "sentence": "We also produced a limited polyurethane record with Fersteinn."}, {"id": "22", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "I think silence has that same relation with music."}, {"id": "23", "sentence": "Emptiness has that same relation with notation."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}, {"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}, {"id": "24", "sentence": "His way of composing has a multimedia conceptual approach, which is mostly linked with processes in society."}, {"id": "24", "sentence": "Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "25", "sentence": "She works with sound, video, installation and performance."}, {"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}, {"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}, {"id": "26", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}, {"id": "26", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "He also expanded his archive with all related logistic processes."}, {"id": "27", "sentence": "The composition follows a more or less linear path, starting with 'deep' time."}, {"id": "27", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "27", "sentence": "Benny Nilsen approached us with his project 'ORE'."}, {"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}, {"id": "27", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "27", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "27", "sentence": "I did the same with coal."}, {"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "27", "sentence": "The composition follows a more or less linear path – starting with deep time."}, {"id": "27", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "You can only survive there if you work with nature."}, {"id": "27", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "28", "sentence": "Duncan also often works with Carl Michael Hausswolff, who is an expert in EVP."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}, {"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "30", "sentence": "They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}, {"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "31", "sentence": "We got in touch with Marco Fusinato through our '8-INCH' series."}, {"id": "31", "sentence": "For this we published 8\" records with artists and labels."}, {"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}, {"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}, {"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "32", "sentence": "To engage with this potential, De Player and Varia asked several artists to work with the tool and use the result as a starting point for a performance."}, {"id": "32", "sentence": "He used a guzheng as a basis and then contact microphones to manipulate the sounds with software."}, {"id": "32", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}, {"id": "32", "sentence": "Christine Cornwell is a composer and violinist working between NL/UK with projects involving improvisation and collaborative work often combined with visual artists, dancers, opera companies or experimental TV."}, {"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "Knierzinger": [{"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}], "heart": [{"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}], "fresh": [{"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}], "Pi": [{"id": "02", "sentence": "It has a Raspberry Pi sits at its core, and is programmed for several applications."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}], "weekend": [{"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}], "evidenced": [{"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}], "beat": [{"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}], "periods": [{"id": "27", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}], "ILDA": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}], "Counting": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Calabria": [{"id": "24", "sentence": "Shena 'Dark Road' by Annie Lennox 'Delivery' by Babyshambles 'Desecration Smile' by Red Hot Chili Peppers 'Destination Calabria' by Alex Gaudino feat."}], "Innovation": [{"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "expressions": [{"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "Zee": [{"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "shuffled": [{"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}], "Use": [{"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}], "delivered": [{"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}], "underneath": [{"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Metrostation Maashaven."}], "impressive": [{"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}], "humming": [{"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}], "bound": [{"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}], "evokes": [{"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}], "teacher": [{"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}], "forget": [{"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}], "block": [{"id": "06", "sentence": "There's something appealing in using a single octave as a building block."}], "proposes": [{"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "Te": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "periodic": [{"id": "28", "sentence": "He also made periodic broadcasts from his own home."}], "Following": [{"id": "24", "sentence": "Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'."}], "coding": [{"id": "10", "sentence": "Her score was made on the spot with programming language; a sort of live coding."}], "lot": [{"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "He is inspiring for a lot of performance-based composers."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "27", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "27", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them ."}], "office": [{"id": "06", "sentence": "The office material, those colourful little dots."}, {"id": "24", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}, {"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}, {"id": "31", "sentence": "A huge public announcement system was in the office blazing loud, but very articulated sound."}], "GUEDES": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}], "Calm": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "festival": [{"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "and took part in founding its festival Sláturtíð."}], "Copperman": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "broken": [{"id": "07", "sentence": "The usual code of the record, as defined by the music industry, was broken in all works."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}], "responds": [{"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}], "loparite": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "younger": [{"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be referred to as 'post-ironic'."}], "snow": [{"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}], "Moment": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "interests": [{"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}], "mine": [{"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "27", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste."}, {"id": "27", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "The sound of the mine was always present."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}], "critical": [{"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "13", "sentence": "He sees it as punk, experimental, noise, investigative and critical, searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}], "typography": [{"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}], "mode": [{"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}], "interpretations": [{"id": "25", "sentence": "Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation."}, {"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}], "feminist": [{"id": "26", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}], "loosen": [{"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}], "soundproofing": [{"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}], "mortals": [{"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "spectators": [{"id": "04", "sentence": "It’s not a matter of an event between spectators and a musician– it’s a space to submit to a process."}], "Vanessa": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Magnetic": [{"id": "27", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "27", "sentence": "Magnetic tape was the medium of my youth."}], "monazite": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Also": [{"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}], "modifying": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}], "schematics": [{"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}], "interpreted": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}], "discussions": [{"id": "28", "sentence": "When we met we had discussions about several professional subjects and decided to realise a publication."}], "arachnids": [{"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}], "come": [{"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "All these scores then had to come together in one magazine/object."}, {"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "25", "sentence": "This 'other way' to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "portable": [{"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "32", "sentence": "Niek built an interactive installation, which can be summarized as a portable music staff where the actual scores/notes were hung on like a washing line."}], "computer": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "VALENTINA VUKSIC (CH/NL) Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called 'telephone adapters'."}, {"id": "10", "sentence": "By writing choreographies for software and computer elements, she utilises these technologies as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers the time and space of computer processing and memory as levels of reality."}, {"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}, {"id": "21", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "Instead of using traditional musical scores during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "This Icelandic quartet plays with little analogue instruments and animation scores Gunnarsson made on his computer."}, {"id": "22", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}, {"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}], "workshops": [{"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}, {"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}], "sits": [{"id": "02", "sentence": "It has a Raspberry Pi sits at its core, and is programmed for several applications."}, {"id": "27", "sentence": "The mountain just sits there."}, {"id": "27", "sentence": "If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste."}], "Bergmark": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "JOHANNES BERGMARK (SE) Johannes Bergmark is a Fylkingen-affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}], "menace": [{"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}], "job": [{"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job designing the packaging."}, {"id": "06", "sentence": "DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job."}], "emancipate": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}], "technique": [{"id": "07", "sentence": "In the case of the 'prepared record', the record or musical piece is not used as a reproductive technique."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "22", "sentence": "This technique of composing is performed by Guðmundur Steinn Gunnarsson and his quartet Fersteinn."}], "Wrote": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "thanks": [{"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "Cobra": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "instructed": [{"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "linear": [{"id": "27", "sentence": "The composition follows a more or less linear path, starting with 'deep' time."}, {"id": "27", "sentence": "The composition follows a more or less linear path – starting with deep time."}], "Break": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Peri": [{"id": "24", "sentence": "The Miami Project 'Anthem' by Filo & Peri feat."}], "unusable": [{"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}], "facility": [{"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}], "me": [{"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "06", "sentence": "As mentioned, this is the short version, can you give me the full story?"}, {"id": "06", "sentence": "It just rang as very poetic to me."}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "But it's still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "Kris Delacourt: If you force me to choose between those two, then drone."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "26", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "These questions are really haunting me ."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}], "Arnhem": [{"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}], "involvement": [{"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}], "Sugar": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "purchased": [{"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}], "Giovanelli": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "RenÃ": [{"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}], "annual": [{"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}], "Let": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "animated": [{"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "21", "sentence": "This means animated notation."}, {"id": "22", "sentence": "Anitation' is the term for animated notation."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}], "regard": [{"id": "06", "sentence": "But Vaast, for instance, refuses to regard it as his doing."}, {"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}], "drug": [{"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}], "Andy": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}], "Though": [{"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "insufficient": [{"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "32", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}], "great": [{"id": "06", "sentence": "Shit like that, really great stuff."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it's use as a technology within her work."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "30", "sentence": "This one is a pretty contemporary example and results in great imagery and sound."}], "software": [{"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "09", "sentence": "As another example, Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "By writing choreographies for software and computer elements, she utilises these technologies as actors in software/noise pieces for, and in, computers."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "19", "sentence": "For this he developed specific software that generates poetry in spoken-word form."}, {"id": "19", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}, {"id": "32", "sentence": "He used a guzheng as a basis and then contact microphones to manipulate the sounds with software."}], "how": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "14", "sentence": "It completely complimented our thinking around how to imagine the concept of composing and making scores."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "20", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "23", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "It just turned out that way, perhaps because that's how we generally tend to structure material."}, {"id": "27", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "27", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "27", "sentence": "In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it ."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}, {"id": "30", "sentence": "The end titles of many black MIDI videos display how many notes are in the piece."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "visits": [{"id": "04", "sentence": "His websites attract a large audience of over forty million unique visits per year."}], "artistry": [{"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}], "Moog": [{"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}], "inspiring": [{"id": "17", "sentence": "He is inspiring for a lot of performance-based composers."}], "compressed": [{"id": "27", "sentence": "So much time is compressed in this material and it's burned up in minutes."}, {"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "one-note": [{"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}], "researching": [{"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "27", "sentence": "Currently, Kahn is researching new interfaces and possibilities of sound composition, image and performance."}], "number": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "There’s something appealing in the number twelve even, and there's the appeal of building instruments too."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}, {"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "produkt": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "video": [{"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "25", "sentence": "She works with sound, video, installation and performance."}, {"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}, {"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}], "basements": [{"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "levels": [{"id": "10", "sentence": "Vuksic considers the time and space of computer processing and memory as levels of reality."}], "attention": [{"id": "24", "sentence": "According to Kreidler, the action, entitled 'Fremdarbeit', is intended to focus attention on the themes of exploitation and authorship."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "boom": [{"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}], "last": [{"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}], "below": [{"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "27", "sentence": "If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste."}], "final": [{"id": "05", "sentence": "It is a complex work that nevertheless manages to remain simple and accessible in its final execution."}, {"id": "06", "sentence": "The final installation will have twelve separate pieces: A complete octave."}, {"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "27", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}], "tried-and-failed": [{"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}], "categories": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}], "undermined": [{"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "railway": [{"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}], "intertwined": [{"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}], "sonification": [{"id": "26", "sentence": "The sonification of spider webs asserts a reverence for the environment, the beauty of the ephemeral and loss."}], "beamer": [{"id": "09", "sentence": "Transmitted through a beamer and an audio system, everything becomes visible and audible."}], "Stereolab": [{"id": "01", "sentence": "The work is voiced by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "The piece is voiced by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "For this multi-vocal composition, Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}], "remains": [{"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}], "Aalto": [{"id": "13", "sentence": "He designed the publication and identity of the 'Aalto Natives' at the Finnish Pavilion of the 57th Venice Biennale."}], "black": [{"id": "30", "sentence": "People who make black MIDIs are known as 'blackers'."}, {"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}, {"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}, {"id": "30", "sentence": "The end titles of many black MIDI videos display how many notes are in the piece."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}, {"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "From this perspective, his live performances can also be considered as black mass implosions."}], "mailed": [{"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}], "sell": [{"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}], "window": [{"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}], "logic": [{"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}], "survival": [{"id": "07", "sentence": "It is nessecary for evolution and survival."}], "Richards": [{"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}], "Far": [{"id": "27", "sentence": "Far down in the Earth the rock is actually moving."}], "objects": [{"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}, {"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}, {"id": "25", "sentence": "Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation."}], "progeny": [{"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}], "audio": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}, {"id": "04", "sentence": "They are intensified visual and audio perceptions in a specific space."}, {"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "09", "sentence": "Transmitted through a beamer and an audio system, everything becomes visible and audible."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}], "misdirected": [{"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "Enter": [{"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}], "At": [{"id": "04", "sentence": "At every level of detail, the everyday sound of our urban surroundings is the focus of his work."}, {"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "06", "sentence": "At least, that's where the initial form and the name came from."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "12", "sentence": "At the time of writing it would have been quite prophetic."}, {"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}, {"id": "32", "sentence": "Pushing Scores website launch and performance evening At the end of 2018, De Player approached Varia to develop a web-publication for their Pushing Scores project archive, which resulted in the current website."}], "product": [{"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "They were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "dystopian": [{"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}], "Tantalum": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "actively": [{"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}], "cracking": [{"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}], "theoreticians": [{"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}], "Hamburg": [{"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}], "failure": [{"id": "06", "sentence": "Or perhaps you would perceive it as a failure if it weren't enjoyable without the concept?"}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}], "trapped": [{"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}], "synthesis": [{"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}], "teaching": [{"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}], "untouched": [{"id": "27", "sentence": "The landscape is fairly untouched, it is scarcely populated, it's desolate."}], "configurations": [{"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}], "audio-driven": [{"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}], "Efron": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "desired": [{"id": "27", "sentence": "All to get to the desired result: The gold!"}], "Al2O3": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "differing": [{"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}], "Jacques": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}], "Sozzi": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "flip-flop": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}], "show": [{"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Metrostation Maashaven."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}], "Uijlenhoet": [{"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}], "Schematics": [{"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}], "Listening": [{"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "27", "sentence": "Listening underground is like reading the environment."}], "Orchestra": [{"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "footage": [{"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}], "focuses": [{"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "His studio work focuses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "09", "sentence": "As another example, Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "12", "sentence": "It was particularly of interested to us because of the way in which he focuses on the reproduction of music."}, {"id": "13", "sentence": "His studio focuses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "25", "sentence": "Her research focuses on the 'dialectic of tuning'."}], "extra": [{"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}, {"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}], "primarily": [{"id": "07", "sentence": "Julia's solo live performances primarily refer to the modified vinyl records that produce extraordinary sounds."}, {"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}], "Sandin": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}], "Luxembourg": [{"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}], "imaginary": [{"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "TETRA": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}], "decades": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}], "equipment": [{"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "commercial": [{"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "The commercial potential and its associated value assessment are problematic for Colson."}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}], "complementary": [{"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}], "corresponded": [{"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}], "Were": [{"id": "06", "sentence": "Were there people who actually listened to the whole eight-hour performance?"}, {"id": "27", "sentence": "Were they forced up North by circumstances?"}], "soundtrack": [{"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}], "twenty-first": [{"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "02", "sentence": "‘Fred Flintstone meets the twenty-first century’, it was referred to as."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "Reich": [{"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}], "communicated": [{"id": "20", "sentence": "Cultural identity is therefore communicated through this."}], "bastnäsite": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "neumens": [{"id": "11", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "18", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}], "harsh": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "learnt": [{"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "small": [{"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}, {"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}, {"id": "27", "sentence": "She still stores coal there in a small outhouse (called 'kullbingen')."}, {"id": "27", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "27", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}], "Brian": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "technical": [{"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "29", "sentence": "Varia has developed a context and technical environment as a web-based archival publication."}], "behavior": [{"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}], "chapter": [{"id": "12", "sentence": "He calls this chapter 'Represent' because it is the project of the executive."}], "overthink": [{"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}], "editing": [{"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}], "situations": [{"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}], "shooter": [{"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}, {"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}], "arpeggios": [{"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "data": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "32", "sentence": "Navigating within the data structure of the archive becomes an act of score notation, and is thus based on subjective association and drifting."}], "Oh": [{"id": "06", "sentence": "Kris Delacourt: Oh, I think it's definitely something that's still evolving."}], "Aid": [{"id": "24", "sentence": "by Band Aid 'Do Without My Love' by Nathan [UK] 'Do You Know?"}], "registers": [{"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}], "consumer": [{"id": "20", "sentence": "Improper uses of consumer electronics (e.g."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}], "Alarm": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "assisting": [{"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}], "smooth": [{"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}], "taught": [{"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}], "flaws": [{"id": "06", "sentence": "The improvisation might be one of the major flaws, actually, conceptually speaking."}], "websites": [{"id": "04", "sentence": "His websites attract a large audience of over forty million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "His studio work focuses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "His studio focuses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}], "apartment": [{"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "Cent": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}], "metaphor": [{"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}], "file": [{"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}], "static": [{"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "Ending": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "formal": [{"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "arrives": [{"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "DAAD": [{"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}], "smaller": [{"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}], "contained": [{"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}], "nevertheless": [{"id": "05", "sentence": "It is a complex work that nevertheless manages to remain simple and accessible in its final execution."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}], "1500": [{"id": "12", "sentence": "It refers to the era of printed music (1500–1900)."}], "bullets": [{"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "tactility": [{"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}], "landscape": [{"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "27", "sentence": "It is a vast scar in the landscape, and really an incredible place."}, {"id": "27", "sentence": "I'm very interested in the hidden layers and history the landscape."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "27", "sentence": "The landscape is fairly untouched, it is scarcely populated, it's desolate."}], "built": [{"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "27", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "32", "sentence": "Niek built an interactive installation, which can be summarized as a portable music staff where the actual scores/notes were hung on like a washing line."}], "technological": [{"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "32", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}], "led": [{"id": "11", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "15", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "18", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "21", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}], "Whitney": [{"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}], "earning": [{"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}], "ROTTERDAM": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "however": [{"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}], "study": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}], "spun": [{"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}], "Kiem": [{"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}], "apparatus": [{"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}], "surroundings": [{"id": "04", "sentence": "At every level of detail, the everyday sound of our urban surroundings is the focus of his work."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "32", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}], "Michael": [{"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}, {"id": "28", "sentence": "Duncan also often works with Carl Michael Hausswolff, who is an expert in EVP."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "relation": [{"id": "01", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "23", "sentence": "I think silence has that same relation with music."}, {"id": "23", "sentence": "Emptiness has that same relation with notation."}, {"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "archaeology": [{"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}], "hurry-curdy": [{"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}], "piece": [{"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "It was presented at Stadslimiet, Antwerp, as an installation piece on 2 Jul 2015."}, {"id": "06", "sentence": "Principium 2.0' is then another piece in step with the principle of Colson's original 'Principium'."}, {"id": "06", "sentence": "Yet I felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "End of piece."}, {"id": "06", "sentence": "How do you perceive the function a piece of vinyl can have?"}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "07", "sentence": "In the case of the 'prepared record', the record or musical piece is not used as a reproductive technique."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "The piece is voiced by Laetitia Saedier of Stereolab."}, {"id": "19", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "24", "sentence": "Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'."}, {"id": "24", "sentence": "This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "30", "sentence": "The end titles of many black MIDI videos display how many notes are in the piece."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "32", "sentence": "Christine Cornwell one dot = one degree / one step / one word spoken This piece explores different layers of interpretation taken from the starting point of any archive-text-score."}], "transmission": [{"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}], "players": [{"id": "06", "sentence": "Peter brought six record players, matching the six colours of the vinyl nicely – two notes each."}, {"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "30", "sentence": "They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}], "representatives": [{"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}], "develops": [{"id": "04", "sentence": "Within it, he develops the reciprocity of music and architecture, and of sound and image."}, {"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}], "Britton": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "than": [{"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "seminar": [{"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}], "experienced": [{"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}], "Good": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "31", "sentence": "Good food and drinks were served."}], "reciprocity": [{"id": "04", "sentence": "Within it, he develops the reciprocity of music and architecture, and of sound and image."}], "1979": [{"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}], "before": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "pure": [{"id": "06", "sentence": "I could have gone for something more 'correct' in terms of concept – I don't know, pure sine waves or something."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}], "Emma": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "big": [{"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}], "situation": [{"id": "20", "sentence": "In a multicultural situation, abstract sounds are forms of recognition; then there is, for example, music."}], "audible": [{"id": "09", "sentence": "Transmitted through a beamer and an audio system, everything becomes visible and audible."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "26", "sentence": "She presented her project entitled 'Arachnes Sonifier', in which she captures and makes audible spider webs."}], "guess": [{"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB Records."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "I guess I am aiming for the best of both worlds there."}], "art": [{"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is also an art book publisher (Onomatopee, Eindhoven, and WdW Review, Rotterdam)."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "05", "sentence": "Colson's works examine core questions: What power does art have to change us and our society?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "He opens up the artistic field to explore what is happening in the art world."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "So I don't think I belong in the conceptual art section."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "She is part of the sound art collective Sculptress of Sound."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}, {"id": "10", "sentence": "The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "24", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "27", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}, {"id": "29", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}, {"id": "32", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}], "baleful": [{"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}], "effect": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}], "postgraduate": [{"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}], "taken": [{"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "26", "sentence": "Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "32", "sentence": "Christine Cornwell one dot = one degree / one step / one word spoken This piece explores different layers of interpretation taken from the starting point of any archive-text-score."}], "Multilingualism": [{"id": "20", "sentence": "Multilingualism is important in giving meaning to the things around us."}], "15": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}], "utensils": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "Program": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "planes": [{"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}], "Iraq": [{"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}], "colors": [{"id": "04", "sentence": "They are cheap dummy books, onto which he poured ink in several colors."}], "enormous": [{"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}], "Browne": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "Monkeys": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "CH": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "10", "sentence": "VALENTINA VUKSIC (CH/NL) Valentina Vuksic is a computer artist and programmer based in Zürich."}], "being": [{"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "10", "sentence": "Software being processed creates its own temporal and spatial dimensions, which are staged for a public."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}], "ones": [{"id": "01", "sentence": "His best ones."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}], "controller": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}], "Four": [{"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Cage": [{"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "13", "sentence": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}], "thus": [{"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}, {"id": "32", "sentence": "Navigating within the data structure of the archive becomes an act of score notation, and is thus based on subjective association and drifting."}], "Vectrex": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}], "Audio": [{"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}], "quo": [{"id": "26", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}], "Shortly": [{"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}], "octave": [{"id": "06", "sentence": "The final installation will have twelve separate pieces: A complete octave."}, {"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "There's something appealing in using a single octave as a building block."}], "reference": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "11", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "18", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}], "Abuse": [{"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}], "Debatty": [{"id": "07", "sentence": "— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne."}], "actions": [{"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "26", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "projected": [{"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}], "77": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "lights": [{"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}], "edge": [{"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}], "organisation": [{"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "rendition": [{"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}], "labelled": [{"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}], "Anthem": [{"id": "24", "sentence": "The Miami Project 'Anthem' by Filo & Peri feat."}], "readings": [{"id": "27", "sentence": "Different types of stone give different frequency readings."}], "evening": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "07", "sentence": "On this evening, 'Resonanz' will be the starting point for a Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "For this evening event, 'Resonanz' will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "Varia will host the evening, and explain their ideas and approach to developing the archive."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "32", "sentence": "Pushing Scores website launch and performance evening At the end of 2018, De Player approached Varia to develop a web-publication for their Pushing Scores project archive, which resulted in the current website."}, {"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}], "surfaces": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}], "pop": [{"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}], "coverage": [{"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "fiction": [{"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}], "passed": [{"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}], "importance": [{"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}], "encouraged": [{"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}], "today": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}], "custom-built": [{"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "Tennis": [{"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}], "printed": [{"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}, {"id": "12", "sentence": "It refers to the era of printed music (1500–1900)."}, {"id": "24", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}], "Zac": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "iterations": [{"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}], "isn": [{"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}], "generate": [{"id": "01", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}], "Some": [{"id": "02", "sentence": "Some dare to say that it’s a kind of jukebox."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "27", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}], "ingenious": [{"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}], "Only": [{"id": "27", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}], "Workers": [{"id": "27", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}], "guarantees": [{"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}], "Extra": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "three-dimensional": [{"id": "08", "sentence": "We decided to envision the framework for the installation as a three-dimensional staff to write down music."}], "visually": [{"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}], "projects": [{"id": "04", "sentence": "His studio work focuses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (of one or more people)."}, {"id": "13", "sentence": "His studio focuses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "31", "sentence": "One of Marco's most-known projects is called 'Black Mass Implosion'."}, {"id": "32", "sentence": "Robert Kroos (aka Duckfood) is a Rotterdam based musician, sound-artist and DJ working on all kinds of sound- and music related projects."}, {"id": "32", "sentence": "Christine Cornwell is a composer and violinist working between NL/UK with projects involving improvisation and collaborative work often combined with visual artists, dancers, opera companies or experimental TV."}], "pauses": [{"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "supposed": [{"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}], "ethics": [{"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}], "College": [{"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}], "playing": [{"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}], "WORM": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "hours": [{"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}, {"id": "06", "sentence": "I followed that score for eight hours straight."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}], "org": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "located": [{"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}], "sticking": [{"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}], "etc": [{"id": "06", "sentence": "Sometimes I preferred elements because of harmonic information, notes that work well together, sometimes because of rhythms that worked well, etc."}], "Different": [{"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}, {"id": "27", "sentence": "Different types of stone give different frequency readings."}], "stating": [{"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}], "books": [{"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "04", "sentence": "They are cheap dummy books, onto which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "04", "sentence": "These books were the starting point for curating the event, which subsequently sat within our 'Pushing Scores' project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}], "Wikia": [{"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}], "adhering": [{"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}], "handcraft": [{"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}], "MIDI": [{"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}, {"id": "30", "sentence": "They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}, {"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}, {"id": "30", "sentence": "The end titles of many black MIDI videos display how many notes are in the piece."}, {"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "Piet": [{"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}], "Bringing": [{"id": "06", "sentence": "DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job."}], "summer": [{"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}], "utopian": [{"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}], "Island": [{"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}], "STADSLIMIET": [{"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}], "Beyonce": [{"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}], "forming": [{"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}], "sure": [{"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it's own."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}], "tremolo": [{"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}], "investigated": [{"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}, {"id": "32", "sentence": "The project investigated the state of the arts of composing scores in a contemporary environment and spanned over 2-3 years."}], "songs": [{"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}], "1977": [{"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer based in Amsterdam."}], "hung": [{"id": "32", "sentence": "Niek built an interactive installation, which can be summarized as a portable music staff where the actual scores/notes were hung on like a washing line."}], "workshop": [{"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}], "flattered": [{"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}], "goes": [{"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "27", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}], "Timberlake": [{"id": "24", "sentence": "Justin Timberlake & Timbaland 'Baby Baby' by Sunblock feat."}], "top": [{"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}], "Greek": [{"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}], "world": [{"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "He opens up the artistic field to explore what is happening in the art world."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}, {"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "22", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "27", "sentence": "In practice it's quite mathematical, but it still it is part of the sound world too."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}], "Technische": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "debut": [{"id": "06", "sentence": "DE PLAYER: The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}], "absorbed": [{"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}], "catalysts": [{"id": "25", "sentence": "Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation."}], "aural": [{"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "this": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "01", "sentence": "Throughout 2016, 2017 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "01", "sentence": "Later on, this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media to this day."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "For this event he will work with a film projection and a synthesizer, which he influences with his brainwaves."}, {"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}, {"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "As mentioned, this is the short version, can you give me the full story?"}, {"id": "06", "sentence": "In this way you would end up with all different records, each one an original."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}, {"id": "06", "sentence": "DE PLAYER: Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "Kris Delacourt: Not really, at least not in this case."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "But it's still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "DE PLAYER: The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "DE PLAYER: Do you see this as a drone record?"}, {"id": "06", "sentence": "I don't feel this record has that."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "On this evening, 'Resonanz' will be the starting point for a Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "For this evening event, 'Resonanz' will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "11", "sentence": "For this multi-vocal composition, Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "In the eleventh century, Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "He calls this chapter 'Represent' because it is the project of the executive."}, {"id": "12", "sentence": "Because of this ambiguity, we are interested in what this stage of music could represent."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}, {"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "19", "sentence": "For this he developed specific software that generates poetry in spoken-word form."}, {"id": "20", "sentence": "Cultural identity is therefore communicated through this."}, {"id": "20", "sentence": "Signification also plays a major role in this."}, {"id": "20", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}, {"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "24", "sentence": "Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}, {"id": "25", "sentence": "Her archival approach and its political and personal implications are the starting point of this work."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "27", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "For this event, Kahn did some kind of improvisation session on the works of the three invited artists."}, {"id": "27", "sentence": "Sometimes this can go horribly wrong."}, {"id": "27", "sentence": "It is important for companies to manage this."}, {"id": "27", "sentence": "So much time is compressed in this material and it's burned up in minutes."}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}, {"id": "27", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}, {"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}, {"id": "31", "sentence": "For this we published 8\" records with artists and labels."}, {"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}, {"id": "31", "sentence": "From this perspective, his live performances can also be considered as black mass implosions."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}, {"id": "32", "sentence": "To engage with this potential, De Player and Varia asked several artists to work with the tool and use the result as a starting point for a performance."}, {"id": "32", "sentence": "For this special event he used be using the guzheng and electronics as instruments of choice."}, {"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}], "graphically": [{"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}], "tuned": [{"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}], "catastrophic": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "spontaneous": [{"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}], "Bigger": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "ti": [{"id": "11", "sentence": "A seventh note, 'si' or 'ti', was added later."}], "Higinbotham": [{"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}], "myself": [{"id": "06", "sentence": "And since I'm a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}], "reciprocal": [{"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}], "Delacourt": [{"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "Kris Delacourt)."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "This is an interview with Kris Delacourt (Remörk) on his practice and the 'Principium' story."}, {"id": "06", "sentence": "Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "Kris Delacourt: Oh, I think it's definitely something that's still evolving."}, {"id": "06", "sentence": "Kris Delacourt: Not really, at least not in this case."}, {"id": "06", "sentence": "Kris Delacourt: You do it in short sessions, hah."}, {"id": "06", "sentence": "Kris Delacourt: There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "06", "sentence": "Kris Delacourt: The 10\" records have all been sold as well, so they sit somewhere in the middle."}, {"id": "06", "sentence": "Kris Delacourt: I do look at it as a solo thing."}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "06", "sentence": "Kris Delacourt: If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "Kris Delacourt: I certainly do hope that it's enjoyable."}], "Because": [{"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "12", "sentence": "Because of this ambiguity, we are interested in what this stage of music could represent."}, {"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}, {"id": "25", "sentence": "Because she uses and records the archive, the end result almost turns out to be a DJ set."}], "APPLICATIONS": [{"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}], "interesting": [{"id": "05", "sentence": "We have known Vaast Colson to be an interesting artist for quite some time already."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "If something was interesting for a while, but didn't stay interesting, it had to go."}, {"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "24", "sentence": "This makes it particularly interesting when viewed from the perspective of experimentation and unorthodox composing."}, {"id": "25", "sentence": "This 'other way' to come to sound is an interesting phenomenon."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "27", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "27", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}], "any": [{"id": "02", "sentence": "This is a magazine without any format, with the intention for a new one to be developed each time."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, which determines the rhythm."}, {"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "11", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "18", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "32", "sentence": "Christine Cornwell one dot = one degree / one step / one word spoken This piece explores different layers of interpretation taken from the starting point of any archive-text-score."}], "em": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "sided": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "kinds": [{"id": "32", "sentence": "Robert Kroos (aka Duckfood) is a Rotterdam based musician, sound-artist and DJ working on all kinds of sound- and music related projects."}], "envision": [{"id": "08", "sentence": "We decided to envision the framework for the installation as a three-dimensional staff to write down music."}], "discussing": [{"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}], "business": [{"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "us": [{"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "05", "sentence": "Colson's works examine core questions: What power does art have to change us and our society?"}, {"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "12", "sentence": "It was particularly of interested to us because of the way in which he focuses on the reproduction of music."}, {"id": "13", "sentence": "Yet these alternate approaches brought us together and made 'Pushing Scores' real."}, {"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}, {"id": "20", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "27", "sentence": "Benny Nilsen approached us with his project 'ORE'."}], "WITH": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}], "human": [{"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "26", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "It's good for the human psyche to be reminded of that."}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}], "introduce": [{"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "object": [{"id": "02", "sentence": "All these scores then had to come together in one magazine/object."}, {"id": "02", "sentence": "The result is a combination of several media, which all coexist in a designed concrete object."}, {"id": "05", "sentence": "This can be a performance, an object, a book or whatever other form he settles on."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}], "low": [{"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}], "dimensions": [{"id": "10", "sentence": "Software being processed creates its own temporal and spatial dimensions, which are staged for a public."}, {"id": "29", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "32", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}], "irregular": [{"id": "22", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "22", "sentence": "In that way, the most irregular things can become very intelligible."}], "could": [{"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be referred to as 'post-ironic'."}, {"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}, {"id": "06", "sentence": "I could have gone for something more 'correct' in terms of concept – I don't know, pure sine waves or something."}, {"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Because of this ambiguity, we are interested in what this stage of music could represent."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "26", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "29", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}], "explain": [{"id": "10", "sentence": "Varia will host the evening, and explain their ideas and approach to developing the archive."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "32", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}], "fragment": [{"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}], "Enschede": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "rasterised": [{"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}], "contains": [{"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}, {"id": "24", "sentence": "Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'."}, {"id": "27", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}], "Serge": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}], "053mm": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "purposes": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}], "subsequent": [{"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}], "non-musical": [{"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}], "VANHOOF": [{"id": "04", "sentence": "FLORIS VANHOOF (BE) Floris Vanhoof is a filmmaker and musician from Belgium."}], "quite": [{"id": "05", "sentence": "We have known Vaast Colson to be an interesting artist for quite some time already."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "Pretty nonsensical in a way, but it produced a really beautiful, and quite fragile, result."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "So I don’t think I've quite finished with it, no."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "That's quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "12", "sentence": "At the time of writing it would have been quite prophetic."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "27", "sentence": "That is quite scary."}, {"id": "27", "sentence": "In practice it's quite mathematical, but it still it is part of the sound world too."}], "p": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34."}], "Verka": [{"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}], "reproduction": [{"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "12", "sentence": "It was particularly of interested to us because of the way in which he focuses on the reproduction of music."}, {"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "30", "sentence": "In that sense, there is never a perfect reproduction but always an interpretation."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "1958": [{"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}], "greenhouse": [{"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "Klangwerkstatt": [{"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}], "published": [{"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}, {"id": "31", "sentence": "For this we published 8\" records with artists and labels."}], "ambience": [{"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}], "activity": [{"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}], "painstakingly": [{"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}], "ELECTRONIC": [{"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}], "interacting": [{"id": "27", "sentence": "By physically interacting with the stone you can determine what material it is."}], "factories": [{"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "simple": [{"id": "05", "sentence": "It is a complex work that nevertheless manages to remain simple and accessible in its final execution."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "32", "sentence": "It invited anyone to follow simple instructions to create a spatial representation of different people's individual navigations through the archive."}], "Schaeffer": [{"id": "27", "sentence": "There is a little homage to GRM and Pierre Schaeffer on the record."}], "international": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}], "Timbaland": [{"id": "24", "sentence": "Timbaland 'Another One Bites The Dust' by Queen vs."}, {"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}, {"id": "24", "sentence": "Justin Timberlake & Timbaland 'Baby Baby' by Sunblock feat."}], "23": [{"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "Julia": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne."}, {"id": "07", "sentence": "Julia's solo live performances primarily refer to the modified vinyl records that produce extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}, {"id": "07", "sentence": "Julia Bünnagel was also invited, under the guise of contributing a more physical input."}], "35": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "guided": [{"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}], "instrumental": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}], "produce": [{"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "07", "sentence": "Julia's solo live performances primarily refer to the modified vinyl records that produce extraordinary sounds."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}], "cutting": [{"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}], "asunder": [{"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "Fricatives": [{"id": "19", "sentence": "Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}], "tendencies": [{"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}], "funnily": [{"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}], "safer": [{"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}], "improper": [{"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}], "musique": [{"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "The musique concrète, as developed by Henry at GRM, was made by magnetic tape."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}], "side": [{"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}], "bits": [{"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}], "magazine": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "02", "sentence": "This is a magazine without any format, with the intention for a new one to be developed each time."}, {"id": "02", "sentence": "All these scores then had to come together in one magazine/object."}, {"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}], "word": [{"id": "19", "sentence": "For this he developed specific software that generates poetry in spoken-word form."}, {"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "32", "sentence": "Christine Cornwell one dot = one degree / one step / one word spoken This piece explores different layers of interpretation taken from the starting point of any archive-text-score."}], "myth": [{"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}], "US": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}], "Tetra": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "02", "sentence": "We proposed to the students that they devise an issue of our publication Tetra Gamma Circulaire."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}], "spider": [{"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "26", "sentence": "She presented her project entitled 'Arachnes Sonifier', in which she captures and makes audible spider webs."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}, {"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}, {"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "26", "sentence": "The sonification of spider webs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}], "Sveinbjarnardóttir": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "refusing": [{"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "ourselves": [{"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}], "Still": [{"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it's own."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}], "quotations": [{"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}], "perfectly": [{"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "11", "sentence": "The invitation was perfectly suited for a project in public space that he had in mind for 'Pushing Scores'."}, {"id": "22", "sentence": "The idea of 'anitation' and the work of Guðmundur Steinn Gunnarsson fits perfectly within 'Pushing Scores'."}], "derived": [{"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "void": [{"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}], "Arduino-powered": [{"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}], "extensive": [{"id": "27", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "Since the beginning of his practice, he has made extensive use of recorded sound."}], "doors": [{"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}], "short": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "06", "sentence": "As mentioned, this is the short version, can you give me the full story?"}, {"id": "06", "sentence": "Kris Delacourt: You do it in short sessions, hah."}, {"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}], "Memory": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "quietest": [{"id": "21", "sentence": "Fersteinn usually performs in the quietest of settings."}], "inscriptions": [{"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}], "peculiar": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}], "Cola": [{"id": "24", "sentence": "Patrick Stump 'Curvy Cola Bottle Body' by Chico 'D.A.N.C.E."}], "Flute": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "London": [{"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "Acceptable": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "hotspot": [{"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}], "blue": [{"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}], "easier": [{"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}], "constructing": [{"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}], "story": [{"id": "06", "sentence": "This is an interview with Kris Delacourt (Remörk) on his practice and the 'Principium' story."}, {"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "As mentioned, this is the short version, can you give me the full story?"}], "consider": [{"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}], "electronic": [{"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "07", "sentence": "TELCOSYSTEMS (NL) Telcosystems presents 'Resonanz', an electronic book combining a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "With 'Resonanz', Telcosystems presents an electronic book that combines a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "Resonanz' is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}, {"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "19", "sentence": "For example, his work 'frakativ' is an electronic visual sound poetry performance."}, {"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}, {"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "scan-processed": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}], "JoJo": [{"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}], "Hurk": [{"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}], "Dennis": [{"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "DE PLAYER: Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "There's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}], "collage": [{"id": "06", "sentence": "Or as a collage record?"}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}], "visualises": [{"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "upon": [{"id": "02", "sentence": "One restriction was decided upon: The scores had to be presented on floppy disc."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "criteria": [{"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}], "setup": [{"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}, {"id": "32", "sentence": "Robert Kroos made a setup that enabled him to respond to a multitude of parameters."}], "political": [{"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "25", "sentence": "Her archival approach and its political and personal implications are the starting point of this work."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "Summit": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "speaking": [{"id": "06", "sentence": "The improvisation might be one of the major flaws, actually, conceptually speaking."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}], "festivals": [{"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "frikativ": [{"id": "19", "sentence": "The performance 'frikativ' is real-time generated visual and sound poetry."}], "Writer": [{"id": "30", "sentence": "They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "nothing": [{"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}], "context": [{"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}, {"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "29", "sentence": "Varia has developed a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}], "materialised": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}], "baton": [{"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}], "project": [{"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp-based artists to contribute to the project."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016, 2017 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "02", "sentence": "We worked around the ideas present in our 'Pushing Scores' project."}, {"id": "02", "sentence": "Each student had to develop their own project around the process of making a score."}, {"id": "04", "sentence": "These books were the starting point for curating the event, which subsequently sat within our 'Pushing Scores' project."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "06", "sentence": "Principium' comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the working process."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "The invitation was perfectly suited for a project in public space that he had in mind for 'Pushing Scores'."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "12", "sentence": "He calls this chapter 'Represent' because it is the project of the executive."}, {"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}, {"id": "13", "sentence": "The entire 'Pushing Scores' project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}, {"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "25", "sentence": "Ana Guedes' project 'UNTITLED RECORDS' fits into our idea of finding new ways to compose very seamlessly."}, {"id": "26", "sentence": "She presented her project entitled 'Arachnes Sonifier', in which she captures and makes audible spider webs."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "27", "sentence": "Benny Nilsen approached us with his project 'ORE'."}, {"id": "27", "sentence": "It doesn't relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}, {"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}, {"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "32", "sentence": "Pushing Scores website launch and performance evening At the end of 2018, De Player approached Varia to develop a web-publication for their Pushing Scores project archive, which resulted in the current website."}, {"id": "32", "sentence": "The project investigated the state of the arts of composing scores in a contemporary environment and spanned over 2-3 years."}], "Mining": [{"id": "27", "sentence": "Mining' by BJ Nilsen, 'Jazz' by Max Franklin and 'Earthquake' by Aurelie Lierman."}], "yodeling": [{"id": "23", "sentence": "Before the song there was the yodel,' As Bart Plantenga stated in his reading on yodeling."}], "exposed": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "blazing": [{"id": "31", "sentence": "A huge public announcement system was in the office blazing loud, but very articulated sound."}], "OF": [{"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}, {"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}], "Courteeners": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "surround": [{"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}], "sung": [{"id": "20", "sentence": "It is important here that the language is sung off the usual value of speech."}], "these": [{"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Metrostation Maashaven."}, {"id": "02", "sentence": "All these scores then had to come together in one magazine/object."}, {"id": "06", "sentence": "He then reassembled these line segments into new shapes and new lines."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts."}, {"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "10", "sentence": "By writing choreographies for software and computer elements, she utilises these technologies as actors in software/noise pieces for, and in, computers."}, {"id": "13", "sentence": "Yet these alternate approaches brought us together and made 'Pushing Scores' real."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "24", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}, {"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "Lissajous": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}], "essentially": [{"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}], "nonetheless": [{"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}], "landed": [{"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}], "restricted": [{"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "unrelated": [{"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "HOOF": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}], "draws": [{"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "passage": [{"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "MARTENS": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}], "state": [{"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "So what is the current state of the graphic score?"}, {"id": "06", "sentence": "It's meant to be in a continued state of flux."}, {"id": "32", "sentence": "The project investigated the state of the arts of composing scores in a contemporary environment and spanned over 2-3 years."}], "LCD": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "multi-arm": [{"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}], "FRANKLIN": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}], "related": [{"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}, {"id": "27", "sentence": "He also expanded his archive with all related logistic processes."}, {"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}, {"id": "32", "sentence": "Robert Kroos (aka Duckfood) is a Rotterdam based musician, sound-artist and DJ working on all kinds of sound- and music related projects."}], "designer": [{"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer based in Amsterdam."}, {"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "28", "sentence": "He is currently a sound designer at the Art Academy of Bologna, Italy."}], "centred": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}], "physical": [{"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}, {"id": "07", "sentence": "Julia Bünnagel was also invited, under the guise of contributing a more physical input."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}, {"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}, {"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "32", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}], "2016": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Throughout 2016, 2017 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}, {"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "László": [{"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}], "architecture": [{"id": "04", "sentence": "Within it, he develops the reciprocity of music and architecture, and of sound and image."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}], "Graphite": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "elsewhere": [{"id": "27", "sentence": "Both in active mines and in the abandoned mines and buildings surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}], "waveforms": [{"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}], "ninty-nine": [{"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}], "entity": [{"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}], "framework": [{"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "08", "sentence": "We decided to envision the framework for the installation as a three-dimensional staff to write down music."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}], "symbolise": [{"id": "27", "sentence": "Those recordings symbolise the stasis of time."}], "Encased": [{"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}], "Sadier": [{"id": "11", "sentence": "For this multi-vocal composition, Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}], "page-3": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "la": [{"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}], "Cochior": [{"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}], "poetic": [{"id": "06", "sentence": "It just rang as very poetic to me."}], "AMVK": [{"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}], "Shit": [{"id": "06", "sentence": "Shit like that, really great stuff."}], "Subotnik": [{"id": "16", "sentence": "In the early 1960s, the composer Morton Subotnik employed engineer Don Buchla to help him create 'the music of the future'."}], "horizontal": [{"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "modern-day": [{"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}], "Fersteinn": [{"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "21", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "21", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "21", "sentence": "Fersteinn works with the method of so-called 'animation'."}, {"id": "22", "sentence": "This technique of composing is performed by Guðmundur Steinn Gunnarsson and his quartet Fersteinn."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson has been part of DE PLAYER's programme with his quartet Fersteinn several times."}, {"id": "22", "sentence": "We also produced a limited polyurethane record with Fersteinn."}, {"id": "22", "sentence": "He runs his own multi-instrumentalist quartet called Fersteinn."}], "Huellkurven": [{"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}], "optical": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}], "journalists": [{"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "destruction": [{"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "sticker": [{"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "Colson made two booklets in the 'Principium' series – comprised of reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "It's an iron board and it has the same visuals as the sticker sheets."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}], "therefore": [{"id": "06", "sentence": "They were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "20", "sentence": "Cultural identity is therefore communicated through this."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "24", "sentence": "The system was therefore completely stuck."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}, {"id": "32", "sentence": "The material is embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "rare": [{"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}], "weaving": [{"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}, {"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}], "Java": [{"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "Crash": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "sees": [{"id": "13", "sentence": "He sees it as punk, experimental, noise, investigative and critical, searching for dissonance and ordering of information, for rhythm and tonality."}], "attuned": [{"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}], "doomed": [{"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}], "self-education": [{"id": "15", "sentence": "Holzer often works through a long, rigorous process of self-education in electronics."}], "aforementioned": [{"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}], "cassiterite": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "amplify": [{"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}], "steps": [{"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}], "anyway": [{"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}], "lasted": [{"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}], "stop": [{"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}, {"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}, {"id": "27", "sentence": "Where does mining stop?"}], "rise": [{"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}], "ensuring": [{"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}], "Marco": [{"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "We got in touch with Marco Fusinato through our '8-INCH' series."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}, {"id": "31", "sentence": "One of Marco's most-known projects is called 'Black Mass Implosion'."}, {"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "advance": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "collaborated": [{"id": "11", "sentence": "For this multi-vocal composition, Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}], "indicated": [{"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}], "Flintstone": [{"id": "02", "sentence": "‘Fred Flintstone meets the twenty-first century’, it was referred to as."}], "Hilkmann": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "29", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}, {"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}, {"id": "32", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}], "PRINCIPIUM": [{"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}], "Closer": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "embodied": [{"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "32", "sentence": "The material is embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "Kroos": [{"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}, {"id": "32", "sentence": "Robert Kroos made a setup that enabled him to respond to a multitude of parameters."}, {"id": "32", "sentence": "Robert Kroos (aka Duckfood) is a Rotterdam based musician, sound-artist and DJ working on all kinds of sound- and music related projects."}], "degree": [{"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "32", "sentence": "Christine Cornwell one dot = one degree / one step / one word spoken This piece explores different layers of interpretation taken from the starting point of any archive-text-score."}], "29": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}], "majority": [{"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "combining": [{"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}, {"id": "07", "sentence": "TELCOSYSTEMS (NL) Telcosystems presents 'Resonanz', an electronic book combining a series of visual artworks and a sound publication."}], "abuse": [{"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}], "virtual": [{"id": "20", "sentence": "The analogue and virtual voice play a major role in this."}], "playground": [{"id": "27", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}], "Londonâ": [{"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "Bon": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "feet": [{"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "haunting": [{"id": "27", "sentence": "These questions are really haunting me ."}], "occurrences": [{"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}], "relative": [{"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "27", "sentence": "I am drawn to the Arctic as a sound person because of its relative remoteness."}], "Over": [{"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}, {"id": "27", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "bringing": [{"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}], "re-examined": [{"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}], "Princeton": [{"id": "27", "sentence": "Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34."}], "even": [{"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in the number twelve even, and there's the appeal of building instruments too."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}], "Mosconi": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}], "natural": [{"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}], "core": [{"id": "02", "sentence": "It has a Raspberry Pi sits at its core, and is programmed for several applications."}, {"id": "05", "sentence": "Colson's works examine core questions: What power does art have to change us and our society?"}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}], "head": [{"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}], "Graphics": [{"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "remotely": [{"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "anticipate": [{"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}], "Internet": [{"id": "04", "sentence": "RAFAËL ROZENDAAL (NL) Rafaël Rozendaal is a visual artist who uses the Internet as his canvas."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}], "Invitation": [{"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "1962": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}], "Caillat": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "water": [{"id": "27", "sentence": "It is a base of hard rock under the water with different layers of material."}], "Kakakakaito1998": [{"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}], "mean": [{"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "27", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}], "rules": [{"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}], "Peter": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "Peter brought six record players, matching the six colours of the vinyl nicely – two notes each."}, {"id": "06", "sentence": "There's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}], "interpretation": [{"id": "06", "sentence": "Yet I felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}, {"id": "30", "sentence": "In that sense, there is never a perfect reproduction but always an interpretation."}, {"id": "32", "sentence": "Christine Cornwell one dot = one degree / one step / one word spoken This piece explores different layers of interpretation taken from the starting point of any archive-text-score."}], "weeks": [{"id": "01", "sentence": "Just so you can see them day and night, for roughly three weeks long."}], "by": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "The work is voiced by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "05", "sentence": "The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded."}, {"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "He was intrigued by the invitation, but it took a long time to develop."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "Principium' comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The usual code of the record, as defined by the music industry, was broken in all works."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "11", "sentence": "The piece is voiced by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "19", "sentence": "Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "19", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "21", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "This technique of composing is performed by Guðmundur Steinn Gunnarsson and his quartet Fersteinn."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}, {"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}, {"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Timbaland 'Another One Bites The Dust' by Queen vs."}, {"id": "24", "sentence": "The Miami Project 'Anthem' by Filo & Peri feat."}, {"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}, {"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}, {"id": "24", "sentence": "Justin Timberlake & Timbaland 'Baby Baby' by Sunblock feat."}, {"id": "24", "sentence": "Sandy 'Baby Fratelli' by The Fratellis 'Baby Love' by Nicole Scherzinger Feat."}, {"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}, {"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}, {"id": "24", "sentence": "Patrick Stump 'Curvy Cola Bottle Body' by Chico 'D.A.N.C.E."}, {"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}, {"id": "24", "sentence": "Shena 'Dark Road' by Annie Lennox 'Delivery' by Babyshambles 'Desecration Smile' by Red Hot Chili Peppers 'Destination Calabria' by Alex Gaudino feat."}, {"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}, {"id": "24", "sentence": "by Band Aid 'Do Without My Love' by Nathan [UK] 'Do You Know?"}, {"id": "24", "sentence": "The Ping Pong Song)' by Enrique Iglesias 'Doing It Right' by The Go!"}, {"id": "24", "sentence": "Team 'Don't' by Elvis Presley With The Jordanaires 'Don't Dance' by Midas 'Don't Give It Up' by Siobhan Donaghy"}, {"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "The musique concrète, as developed by Henry at GRM, was made by magnetic tape."}, {"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}, {"id": "27", "sentence": "Mining' by BJ Nilsen, 'Jazz' by Max Franklin and 'Earthquake' by Aurelie Lierman."}, {"id": "27", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "27", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "27", "sentence": "Were they forced up North by circumstances?"}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}, {"id": "29", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}, {"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}, {"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "32", "sentence": "Varia contributed by developing an archival web publication where the vernacular vocabulary of De Player creates the possibilities of text-based navigation across the collection of items."}, {"id": "32", "sentence": "The material is embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}, {"id": "32", "sentence": "The individual lines of the staffs were movable by means of 5 handles which were amplified through contact mics."}, {"id": "32", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}], "manipulation": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "27", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}], "another": [{"id": "06", "sentence": "Principium 2.0' is then another piece in step with the principle of Colson's original 'Principium'."}, {"id": "06", "sentence": "Yet I felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "That's just another way of letting things go, of giving up control."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "09", "sentence": "As another example, Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}, {"id": "27", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}], "dates": [{"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}], "comments": [{"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}], "believed": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "Valentina": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART x JUBILEE event in 2017."}, {"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}, {"id": "10", "sentence": "VALENTINA VUKSIC (CH/NL) Valentina Vuksic is a computer artist and programmer based in Zürich."}], "vehicles": [{"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "decided": [{"id": "02", "sentence": "One restriction was decided upon: The scores had to be presented on floppy disc."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "08", "sentence": "We decided to envision the framework for the installation as a three-dimensional staff to write down music."}, {"id": "09", "sentence": "However, it was decided to start from the floppy disc as a medium."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "28", "sentence": "When we met we had discussions about several professional subjects and decided to realise a publication."}], "correlations": [{"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "32", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}], "2007": [{"id": "10", "sentence": "The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "31", "sentence": "Fusinato's 'Mass Black Implosion' series began in 2007."}], "Esther": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "lines": [{"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "He then reassembled these line segments into new shapes and new lines."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "Line segments which he reassembled into new shapes and new lines."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century, Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "22", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "32", "sentence": "The individual lines of the staffs were movable by means of 5 handles which were amplified through contact mics."}], "introduction": [{"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}], "Alps": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Maiden": [{"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}], "writer": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "newly": [{"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}], "prices": [{"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}, {"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}], "reassembled": [{"id": "06", "sentence": "He then reassembled these line segments into new shapes and new lines."}, {"id": "06", "sentence": "Line segments which he reassembled into new shapes and new lines."}], "programming": [{"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "Her score was made on the spot with programming language; a sort of live coding."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}], "Sound": [{"id": "07", "sentence": "She is part of the sound art collective Sculptress of Sound."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}], "Instead": [{"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "22", "sentence": "Instead of using traditional musical scores during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}], "commissioned": [{"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}, {"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}], "64-bit": [{"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}], "quartz": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "presented": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "02", "sentence": "One restriction was decided upon: The scores had to be presented on floppy disc."}, {"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "06", "sentence": "It was presented at Stadslimiet, Antwerp, as an installation piece on 2 Jul 2015."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "26", "sentence": "She presented her project entitled 'Arachnes Sonifier', in which she captures and makes audible spider webs."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}], "Miley": [{"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}], "Bing": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Best": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "weird": [{"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}], "Apologize": [{"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}], "Since": [{"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "28", "sentence": "Since the beginning of his practice, he has made extensive use of recorded sound."}], "Step": [{"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}], "microscopic": [{"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}], "on": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}, {"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Metrostation Maashaven."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "01", "sentence": "Later on, this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "02", "sentence": "One restriction was decided upon: The scores had to be presented on floppy disc."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}, {"id": "04", "sentence": "His studio work focuses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}, {"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "05", "sentence": "The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself."}, {"id": "05", "sentence": "This can be a performance, an object, a book or whatever other form he settles on."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "It was presented at Stadslimiet, Antwerp, as an installation piece on 2 Jul 2015."}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "This is an interview with Kris Delacourt (Remörk) on his practice and the 'Principium' story."}, {"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "DE PLAYER: Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "As another example, Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "Her score was made on the spot with programming language; a sort of live coding."}, {"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "The work was installed for a period at The Small Museum – a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "12", "sentence": "It was particularly of interested to us because of the way in which he focuses on the reproduction of music."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "His studio focuses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "16", "sentence": "Derek Holzer was invited for the event 'PUSHING' on 20 Jan 2017."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "This Icelandic quartet plays with little analogue instruments and animation scores Gunnarsson made on his computer."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}, {"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "22", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "Before the song there was the yodel,' As Bart Plantenga stated in his reading on yodeling."}, {"id": "24", "sentence": "According to Kreidler, the action, entitled 'Fremdarbeit', is intended to focus attention on the themes of exploitation and authorship."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "26", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "How much influence does it have on a community?"}, {"id": "27", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope."}, {"id": "27", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "27", "sentence": "For this event, Kahn did some kind of improvisation session on the works of the three invited artists."}, {"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it ."}, {"id": "27", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "27", "sentence": "There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "27", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "John Duncan took part in our event on 5 Oct 2018."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}, {"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}, {"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "32", "sentence": "Navigating within the data structure of the archive becomes an act of score notation, and is thus based on subjective association and drifting."}, {"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}, {"id": "32", "sentence": "Robert Kroos (aka Duckfood) is a Rotterdam based musician, sound-artist and DJ working on all kinds of sound- and music related projects."}, {"id": "32", "sentence": "Niek built an interactive installation, which can be summarized as a portable music staff where the actual scores/notes were hung on like a washing line."}], "pulse": [{"id": "21", "sentence": "Gunnarsson's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}], "SESSION": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}], "appropriation": [{"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "Stemra": [{"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}], "g": [{"id": "20", "sentence": "Improper uses of consumer electronics (e.g."}, {"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}], "Pong": [{"id": "24", "sentence": "The Ping Pong Song)' by Enrique Iglesias 'Doing It Right' by The Go!"}], "noting": [{"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "Douglas": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}, {"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "radically": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}], "where": [{"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "06", "sentence": "At least, that's where the initial form and the name came from."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, which determines the rhythm."}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "22", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "32", "sentence": "Varia contributed by developing an archival web publication where the vernacular vocabulary of De Player creates the possibilities of text-based navigation across the collection of items."}, {"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}, {"id": "32", "sentence": "Niek built an interactive installation, which can be summarized as a portable music staff where the actual scores/notes were hung on like a washing line."}], "edition": [{"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "19", "sentence": "For 'Pushing Scores', we invited him to make special work for a limited edition."}, {"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}], "nonsensical": [{"id": "06", "sentence": "Pretty nonsensical in a way, but it produced a really beautiful, and quite fragile, result."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}], "Heerlen": [{"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}], "collages": [{"id": "06", "sentence": "Interestingly, he thought his resulting collages would be nice to use as scores – and they probably would have been."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}], "signals": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "Super": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "maximum": [{"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}], "Sonic": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}], "material": [{"id": "06", "sentence": "The office material, those colourful little dots."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "27", "sentence": "It just turned out that way, perhaps because that's how we generally tend to structure material."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "So much time is compressed in this material and it's burned up in minutes."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "27", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "32", "sentence": "The material is embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "characterised": [{"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}], "sheets": [{"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "It's an iron board and it has the same visuals as the sticker sheets."}, {"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "Montgermont": [{"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}], "Dancing": [{"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}], "Got": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "capacities": [{"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}], "multimedia": [{"id": "24", "sentence": "He usually uses multimedia elements."}, {"id": "24", "sentence": "His way of composing has a multimedia conceptual approach, which is mostly linked with processes in society."}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}], "trained": [{"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}], "subversive": [{"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}], "files": [{"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}, {"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}], "doing": [{"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "DE PLAYER: Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "But Vaast, for instance, refuses to regard it as his doing."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}, {"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}], "Nadine": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "reformulation": [{"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}], "contributed": [{"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "32", "sentence": "Varia contributed by developing an archival web publication where the vernacular vocabulary of De Player creates the possibilities of text-based navigation across the collection of items."}], "dissonance": [{"id": "13", "sentence": "He sees it as punk, experimental, noise, investigative and critical, searching for dissonance and ordering of information, for rhythm and tonality."}], "explains": [{"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}], "emissions": [{"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}], "Rozendaal": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "RAFAËL ROZENDAAL (NL) Rafaël Rozendaal is a visual artist who uses the Internet as his canvas."}, {"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "Traffic": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Destination": [{"id": "24", "sentence": "Shena 'Dark Road' by Annie Lennox 'Delivery' by Babyshambles 'Desecration Smile' by Red Hot Chili Peppers 'Destination Calabria' by Alex Gaudino feat."}], "stuff": [{"id": "06", "sentence": "Shit like that, really great stuff."}, {"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}], "condition": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "32", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}], "record": [{"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "Peter brought six record players, matching the six colours of the vinyl nicely – two notes each."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "DE PLAYER: Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "DE PLAYER: The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "DE PLAYER: Do you see this as a drone record?"}, {"id": "06", "sentence": "Or as a collage record?"}, {"id": "06", "sentence": "I don't feel this record has that."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "In the case of the 'prepared record', the record or musical piece is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "07", "sentence": "All had worked with the medium of the vinyl record and added a new use/application."}, {"id": "07", "sentence": "The usual code of the record, as defined by the music industry, was broken in all works."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "13", "sentence": "Remco van Bladel grew up in the record store of his father."}, {"id": "19", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}, {"id": "22", "sentence": "We also produced a limited polyurethane record with Fersteinn."}, {"id": "24", "sentence": "Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "27", "sentence": "There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}], "reading": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}, {"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}, {"id": "23", "sentence": "Before the song there was the yodel,' As Bart Plantenga stated in his reading on yodeling."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "27", "sentence": "Listening underground is like reading the environment."}], "Placements": [{"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}, {"id": "24", "sentence": "Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}], "artist": [{"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}, {"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "RAFAËL ROZENDAAL (NL) Rafaël Rozendaal is a visual artist who uses the Internet as his canvas."}, {"id": "04", "sentence": "JUSTIN BENNETT (UK) Justin Bennett is an artist working with sound and visual media."}, {"id": "05", "sentence": "We have known Vaast Colson to be an interesting artist for quite some time already."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "What emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "07", "sentence": "— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}, {"id": "09", "sentence": "JOHANNES BERGMARK (SE) Johannes Bergmark is a Fylkingen-affiliated sound artist, instrument builder and piano technician."}, {"id": "10", "sentence": "VALENTINA VUKSIC (CH/NL) Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "24", "sentence": "Johannes Kreidler is a composer and concept and media artist."}, {"id": "25", "sentence": "Ana Guedes is a multidisciplinary artist from Portugal who lives and works in the Hague."}, {"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "29", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}, {"id": "30", "sentence": "This not only counts for publishing but also for exploring new possibilities for artist practice in general."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "32", "sentence": "Robert Kroos (aka Duckfood) is a Rotterdam based musician, sound-artist and DJ working on all kinds of sound- and music related projects."}, {"id": "32", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "content": [{"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}], "Above": [{"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "pigeons": [{"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}], "1982": [{"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}], "Shayna": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "Cascone": [{"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "Navajo": [{"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}], "cash": [{"id": "27", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}], "encounters": [{"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}], "muttering": [{"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}], "scola": [{"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "11", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "18", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}], "re-vegetation": [{"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}], "manifest": [{"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}], "End": [{"id": "06", "sentence": "End of piece."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "mixed": [{"id": "27", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "27", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}], "temporalities": [{"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}], "remarkable": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}], "Transmitted": [{"id": "09", "sentence": "Transmitted through a beamer and an audio system, everything becomes visible and audible."}], "Casio": [{"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "As mentioned, the first version was a modified Casio keyboard."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}], "Davide": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}], "Want": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "exhibited": [{"id": "06", "sentence": "The interview was conducted after he exhibited 'Principium 2.0' in an installation setting at Stadslimiet, Antwerp."}], "impose": [{"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}], "have": [{"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "05", "sentence": "We have known Vaast Colson to be an interesting artist for quite some time already."}, {"id": "05", "sentence": "Colson's works examine core questions: What power does art have to change us and our society?"}, {"id": "06", "sentence": "The final installation will have twelve separate pieces: A complete octave."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Interestingly, he thought his resulting collages would be nice to use as scores – and they probably would have been."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}, {"id": "06", "sentence": "I could have gone for something more 'correct' in terms of concept – I don't know, pure sine waves or something."}, {"id": "06", "sentence": "How do you perceive the function a piece of vinyl can have?"}, {"id": "06", "sentence": "Kris Delacourt: The 10\" records have all been sold as well, so they sit somewhere in the middle."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "12", "sentence": "At the time of writing it would have been quite prophetic."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "20", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "How much influence does it have on a community?"}, {"id": "27", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope."}, {"id": "27", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "27", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "27", "sentence": "That's why I wanted to have a thread about the regeneration of mining areas."}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "27", "sentence": "If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste."}, {"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "27", "sentence": "You have to take a boat to get there."}, {"id": "27", "sentence": "We have a tunnel that leads there."}, {"id": "27", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them ."}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "Lieshout": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "affective": [{"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}], "prostitute": [{"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}], "vehicle": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}], "been": [{"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Interestingly, he thought his resulting collages would be nice to use as scores – and they probably would have been."}, {"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "Kris Delacourt: The 10\" records have all been sold as well, so they sit somewhere in the middle."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "12", "sentence": "At the time of writing it would have been quite prophetic."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson has been part of DE PLAYER's programme with his quartet Fersteinn several times."}, {"id": "22", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "27", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}], "Vectorian": [{"id": "07", "sentence": "On the live oscilloscope concert Holzer states, 'The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "along": [{"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}], "form": [{"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "05", "sentence": "This can be a performance, an object, a book or whatever other form he settles on."}, {"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "06", "sentence": "Together, all twelve records form the complete set, which one 'game' requires."}, {"id": "06", "sentence": "At least, that's where the initial form and the name came from."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "19", "sentence": "For this he developed specific software that generates poetry in spoken-word form."}, {"id": "20", "sentence": "Subcultures form through music."}, {"id": "20", "sentence": "Inspiration comes in the form of vocal poetry, 'poésie sonore' and text-sound composition."}, {"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}, {"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "26", "sentence": "When the webs are harvested, my hand affects their original form."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "Her": [{"id": "10", "sentence": "Her score was made on the spot with programming language; a sort of live coding."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "25", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "25", "sentence": "Her archival approach and its political and personal implications are the starting point of this work."}, {"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}], "told": [{"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}], "Rotem-Stibbe": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "Defun": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "Ellis": [{"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Andrew": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "North": [{"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "27", "sentence": "Were they forced up North by circumstances?"}], "Max": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "As another example, Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "27", "sentence": "Mining' by BJ Nilsen, 'Jazz' by Max Franklin and 'Earthquake' by Aurelie Lierman."}], "Portapak": [{"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}], "lighting": [{"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}], "PIKSEL": [{"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}], "instrumentation": [{"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}], "country": [{"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}], "activated": [{"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}], "incipience": [{"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}], "unite": [{"id": "02", "sentence": "This was put in place to both limit possibilities and to unite the format."}], "direct": [{"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}], "better": [{"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "Newton": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "courtesies": [{"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}], "Bunton": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "grow": [{"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}], "Jakobson": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it's use as a technology within her work."}, {"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}], "reception": [{"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}], "investigate": [{"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "20", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}], "mines": [{"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "27", "sentence": "Both in active mines and in the abandoned mines and buildings surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}], "SiO2": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "animations": [{"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "21", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}], "compiling": [{"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}], "match": [{"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}], "dialectic": [{"id": "25", "sentence": "Her research focuses on the 'dialectic of tuning'."}], "well": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Sometimes I preferred elements because of harmonic information, notes that work well together, sometimes because of rhythms that worked well, etc."}, {"id": "06", "sentence": "Kris Delacourt: The 10\" records have all been sold as well, so they sit somewhere in the middle."}, {"id": "06", "sentence": "They were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "10", "sentence": "It was a good concert and her way of working fit into our ideas of exploring graphic scores very well."}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "spits": [{"id": "27", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}], "essay": [{"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}], "involved": [{"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART x JUBILEE event in 2017."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "19", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "perfect": [{"id": "30", "sentence": "In that sense, there is never a perfect reproduction but always an interpretation."}], "Davis": [{"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "Darwinian": [{"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}], "Subcultures": [{"id": "20", "sentence": "Subcultures form through music."}], "exchange": [{"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}], "copier": [{"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}], "spotlighted": [{"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "converting": [{"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}], "harmonic": [{"id": "06", "sentence": "Sometimes I preferred elements because of harmonic information, notes that work well together, sometimes because of rhythms that worked well, etc."}], "fears": [{"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}], "enables": [{"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}], "distinctive": [{"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "noted": [{"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}], "violin": [{"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}], "become": [{"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}, {"id": "20", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "22", "sentence": "In that way, the most irregular things can become very intelligible."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}], "specifically": [{"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}], "worked": [{"id": "02", "sentence": "We worked around the ideas present in our 'Pushing Scores' project."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Sometimes I preferred elements because of harmonic information, notes that work well together, sometimes because of rhythms that worked well, etc."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "07", "sentence": "All had worked with the medium of the vinyl record and added a new use/application."}, {"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "27", "sentence": "I also worked with stone as an instrument, striking and recording it."}], "respond": [{"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}, {"id": "32", "sentence": "Robert Kroos made a setup that enabled him to respond to a multitude of parameters."}], "effectiveness": [{"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}], "knowledge": [{"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}], "hope": [{"id": "06", "sentence": "Kris Delacourt: I certainly do hope that it's enjoyable."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}], "1993": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}], "seconds": [{"id": "06", "sentence": "So the C note runs for tens minutes and the B note is something like five minutes and twenty seconds."}], "Intersections": [{"id": "08", "sentence": "The initiatives gather within a part of the programme called 'Intersections'."}], "Quietude": [{"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "analysing": [{"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}], "Wombats": [{"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}], "Enrique": [{"id": "24", "sentence": "The Ping Pong Song)' by Enrique Iglesias 'Doing It Right' by The Go!"}], "mixes": [{"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}], "Which": [{"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}], "representing": [{"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "CaO": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "time-lapse": [{"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}], "Later": [{"id": "01", "sentence": "Later on, this developed into the type of musical notation we are familiar with in Western music."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}], "self-structuring": [{"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}], "wealth": [{"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}], "Cupid": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "contaminated": [{"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}], "conditions": [{"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}], "Faster": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "expressing": [{"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}], "tiny": [{"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}], "departure": [{"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}], "input": [{"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "07", "sentence": "Julia Bünnagel was also invited, under the guise of contributing a more physical input."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpart to his own musical input."}], "Steinn": [{"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "21", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "22", "sentence": "This technique of composing is performed by Guðmundur Steinn Gunnarsson and his quartet Fersteinn."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson has been part of DE PLAYER's programme with his quartet Fersteinn several times."}, {"id": "22", "sentence": "The idea of 'anitation' and the work of Guðmundur Steinn Gunnarsson fits perfectly within 'Pushing Scores'."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}], "education": [{"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}, {"id": "15", "sentence": "Holzer often works through a long, rigorous process of self-education in electronics."}], "Ward": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "experimental": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}, {"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "10", "sentence": "The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "13", "sentence": "He sees it as punk, experimental, noise, investigative and critical, searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}, {"id": "32", "sentence": "Christine Cornwell is a composer and violinist working between NL/UK with projects involving improvisation and collaborative work often combined with visual artists, dancers, opera companies or experimental TV."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "Ingi": [{"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "unreadable": [{"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}], "generator": [{"id": "06", "sentence": "And since I'm a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}], "Katie": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "phenomena": [{"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}], "single": [{"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "There's something appealing in using a single octave as a building block."}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "changes": [{"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}, {"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}], "000": [{"id": "27", "sentence": "This was part of a test production of around 30,000 tons."}], "lost": [{"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "parent": [{"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "personifying": [{"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}], "voices": [{"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "Vegetable": [{"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}], "certain": [{"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}, {"id": "27", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}], "Telcosystems": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "TELCOSYSTEMS (NL) Telcosystems presents 'Resonanz', an electronic book combining a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "With 'Resonanz', Telcosystems presents an electronic book that combines a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}], "sequentially": [{"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "Knížák": [{"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}], "de": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}], "Incorporated": [{"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}], "depends": [{"id": "27", "sentence": "In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it ."}], "angles": [{"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}], "operated": [{"id": "10", "sentence": "The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}], "ambient": [{"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}], "1989": [{"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}], "Faulkner": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "speed": [{"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}], "reflective": [{"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "Gwen": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "practice": [{"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "06", "sentence": "This is an interview with Kris Delacourt (Remörk) on his practice and the 'Principium' story."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "It was an investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}, {"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "In practice it's quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "Since the beginning of his practice, he has made extensive use of recorded sound."}, {"id": "30", "sentence": "This not only counts for publishing but also for exploring new possibilities for artist practice in general."}], "repeat": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}], "turntablism": [{"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}], "placing": [{"id": "19", "sentence": "Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}], "Miami": [{"id": "24", "sentence": "The Miami Project 'Anthem' by Filo & Peri feat."}], "eleventh": [{"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "In the eleventh century, Guido van Arezo introduced the staff with four lines (this is still in use)."}], "When": [{"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "21", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}, {"id": "26", "sentence": "When the webs are harvested, my hand affects their original form."}, {"id": "27", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "27", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "27", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "When we met we had discussions about several professional subjects and decided to realise a publication."}], "Goudron": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "singularly": [{"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "revolving": [{"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}], "bodily": [{"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}], "Fri": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}], "gives": [{"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "27", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}], "multitude": [{"id": "32", "sentence": "Robert Kroos made a setup that enabled him to respond to a multitude of parameters."}], "comprise": [{"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}], "built-in": [{"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}], "singing": [{"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}], "EVP": [{"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "28", "sentence": "Duncan also often works with Carl Michael Hausswolff, who is an expert in EVP."}], "interview": [{"id": "06", "sentence": "This is an interview with Kris Delacourt (Remörk) on his practice and the 'Principium' story."}, {"id": "06", "sentence": "The interview was conducted after he exhibited 'Principium 2.0' in an installation setting at Stadslimiet, Antwerp."}, {"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}], "strategy": [{"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}], "really": [{"id": "06", "sentence": "Pretty nonsensical in a way, but it produced a really beautiful, and quite fragile, result."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts."}, {"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "Shit like that, really great stuff."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "DE PLAYER: Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Kris Delacourt: Not really, at least not in this case."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "It really was a one-time event, with the vinyls functioning as a tool, yes."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}, {"id": "27", "sentence": "It is a vast scar in the landscape, and really an incredible place."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "These questions are really haunting me ."}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}], "hard-": [], "Sean": [{"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}], "quality": [{"id": "04", "sentence": "Every aspect of his work deals with the quality of sound."}, {"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}], "Pedersen": [{"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}], "Waters": [{"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}], "uninhabitable": [{"id": "27", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}], "laboratory": [{"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology and national security."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}], "Ultima": [{"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "becomes": [{"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "09", "sentence": "Transmitted through a beamer and an audio system, everything becomes visible and audible."}, {"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "27", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "32", "sentence": "Navigating within the data structure of the archive becomes an act of score notation, and is thus based on subjective association and drifting."}], "game": [{"id": "06", "sentence": "Together, all twelve records form the complete set, which one 'game' requires."}, {"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}], "saying": [{"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}], "pose": [{"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}], "team": [{"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}], "sooner": [{"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "Babyshambles": [{"id": "24", "sentence": "Shena 'Dark Road' by Annie Lennox 'Delivery' by Babyshambles 'Desecration Smile' by Red Hot Chili Peppers 'Destination Calabria' by Alex Gaudino feat."}], "Emeritus": [{"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "Fengler": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}], "alongside": [{"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}], "medium": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "07", "sentence": "All had worked with the medium of the vinyl record and added a new use/application."}, {"id": "09", "sentence": "However, it was decided to start from the floppy disc as a medium."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "27", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "27", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "28", "sentence": "The medium of radio still plays a role in arriving at compositions."}], "collaborating": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}], "struggles": [{"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}], "CIRCULAIRE": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}], "unique": [{"id": "04", "sentence": "His websites attract a large audience of over forty million unique visits per year."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "19", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}], "Athena": [{"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "26", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}], "Shins": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}], "model": [{"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}], "Dan": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}], "respect": [{"id": "27", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "27", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them ."}], "Desecration": [{"id": "24", "sentence": "Shena 'Dark Road' by Annie Lennox 'Delivery' by Babyshambles 'Desecration Smile' by Red Hot Chili Peppers 'Destination Calabria' by Alex Gaudino feat."}], "Eddie": [{"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "tremble": [{"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "hour": [{"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "Were there people who actually listened to the whole eight-hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}], "morphing": [{"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}], "gallery": [{"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "differences": [{"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "13", "sentence": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}], "himself": [{"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "launched": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}], "function": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "06", "sentence": "How do you perceive the function a piece of vinyl can have?"}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}], "sky": [{"id": "07", "sentence": "On the live oscilloscope concert Holzer states, 'The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}], "folding": [{"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}], "introduced": [{"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "11", "sentence": "In the eleventh century, Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}], "Institute": [{"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}, {"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "1980s": [{"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "paintwork": [{"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}], "Universal": [{"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}], "floor": [{"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}], "funny": [{"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}], "nightmare": [{"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}], "tetrahedrite": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "asserts": [{"id": "26", "sentence": "The sonification of spider webs asserts a reverence for the environment, the beauty of the ephemeral and loss."}], "no": [{"id": "06", "sentence": "So I don’t think I've quite finished with it, no."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}, {"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}, {"id": "27", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}], "biotope": [{"id": "27", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope."}], "was": [{"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "02", "sentence": "One restriction was decided upon: The scores had to be presented on floppy disc."}, {"id": "02", "sentence": "This was put in place to both limit possibilities and to unite the format."}, {"id": "02", "sentence": "‘Fred Flintstone meets the twenty-first century’, it was referred to as."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}, {"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "05", "sentence": "The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded."}, {"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "He was intrigued by the invitation, but it took a long time to develop."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "It was presented at Stadslimiet, Antwerp, as an installation piece on 2 Jul 2015."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "As mentioned, the first version was a modified Casio keyboard."}, {"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}, {"id": "06", "sentence": "The interview was conducted after he exhibited 'Principium 2.0' in an installation setting at Stadslimiet, Antwerp."}, {"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, which determines the rhythm."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "Why was that?"}, {"id": "06", "sentence": "What was the problem?"}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB Records."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "If something was interesting for a while, but didn't stay interesting, it had to go."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "06", "sentence": "It really was a one-time event, with the vinyls functioning as a tool, yes."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "07", "sentence": "Julia Bünnagel was also invited, under the guise of contributing a more physical input."}, {"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The usual code of the record, as defined by the music industry, was broken in all works."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "However, it was decided to start from the floppy disc as a medium."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART x JUBILEE event in 2017."}, {"id": "10", "sentence": "It was a good concert and her way of working fit into our ideas of exploring graphic scores very well."}, {"id": "10", "sentence": "Her score was made on the spot with programming language; a sort of live coding."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "11", "sentence": "The invitation was perfectly suited for a project in public space that he had in mind for 'Pushing Scores'."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "11", "sentence": "The work was installed for a period at The Small Museum – a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "A seventh note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "11", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "It was particularly of interested to us because of the way in which he focuses on the reproduction of music."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "13", "sentence": "The entire 'Pushing Scores' project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "It was an investigation into methodologies within his own artistic practice."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "Derek Holzer was invited for the event 'PUSHING' on 20 Jan 2017."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}, {"id": "18", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "23", "sentence": "Before language there was the song."}, {"id": "23", "sentence": "Before the song there was the yodel,' As Bart Plantenga stated in his reading on yodeling."}, {"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "The system was therefore completely stuck."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}, {"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "27", "sentence": "The musique concrète, as developed by Henry at GRM, was made by magnetic tape."}, {"id": "27", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}, {"id": "27", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "27", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "27", "sentence": "This was part of a test production of around 30,000 tons."}, {"id": "27", "sentence": "The sound of the mine was always present."}, {"id": "27", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "27", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "27", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}, {"id": "29", "sentence": "His presentation was a crossover between a lecture and a demonstration."}, {"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}, {"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}, {"id": "31", "sentence": "A huge public announcement system was in the office blazing loud, but very articulated sound."}], "Pretty": [{"id": "06", "sentence": "Pretty nonsensical in a way, but it produced a really beautiful, and quite fragile, result."}], "Nicole": [{"id": "24", "sentence": "Sandy 'Baby Fratelli' by The Fratellis 'Baby Love' by Nicole Scherzinger Feat."}], "produced": [{"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "06", "sentence": "Pretty nonsensical in a way, but it produced a really beautiful, and quite fragile, result."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "19", "sentence": "Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "22", "sentence": "We also produced a limited polyurethane record with Fersteinn."}, {"id": "24", "sentence": "Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "32", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}], "CONCRETE": [{"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}], "archive-text-score": [{"id": "32", "sentence": "Christine Cornwell one dot = one degree / one step / one word spoken This piece explores different layers of interpretation taken from the starting point of any archive-text-score."}], "comprised": [{"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}, {"id": "06", "sentence": "Colson made two booklets in the 'Principium' series – comprised of reproductions of each used sticker sheet and the result."}], "Weren": [{"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}], "improvisation": [{"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "06", "sentence": "The improvisation might be one of the major flaws, actually, conceptually speaking."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "09", "sentence": "As another example, Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "27", "sentence": "For this event, Kahn did some kind of improvisation session on the works of the three invited artists."}, {"id": "32", "sentence": "Christine Cornwell is a composer and violinist working between NL/UK with projects involving improvisation and collaborative work often combined with visual artists, dancers, opera companies or experimental TV."}], "receiver": [{"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "device": [{"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}], "forty": [{"id": "04", "sentence": "His websites attract a large audience of over forty million unique visits per year."}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}], "spirit": [{"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "reed": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}], "be": [{"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Metrostation Maashaven."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "02", "sentence": "This is a magazine without any format, with the intention for a new one to be developed each time."}, {"id": "02", "sentence": "One restriction was decided upon: The scores had to be presented on floppy disc."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "05", "sentence": "We have known Vaast Colson to be an interesting artist for quite some time already."}, {"id": "05", "sentence": "This can be a performance, an object, a book or whatever other form he settles on."}, {"id": "05", "sentence": "This print run is to be seen as a performative action."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be referred to as 'post-ironic'."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Interestingly, he thought his resulting collages would be nice to use as scores – and they probably would have been."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "It's meant to be in a continued state of flux."}, {"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "That's quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "The improvisation might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process as navigating its actualisation."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "On this evening, 'Resonanz' will be the starting point for a Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "For this evening event, 'Resonanz' will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "22", "sentence": "He also used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "Before God needed to be invented there were man."}, {"id": "24", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "24", "sentence": "This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "25", "sentence": "Because she uses and records the archive, the end result almost turns out to be a DJ set."}, {"id": "26", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}, {"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "It's good for the human psyche to be reminded of that."}, {"id": "27", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "27", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}, {"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}, {"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}, {"id": "31", "sentence": "From this perspective, his live performances can also be considered as black mass implosions."}, {"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}, {"id": "32", "sentence": "For this special event he used be using the guzheng and electronics as instruments of choice."}, {"id": "32", "sentence": "Niek built an interactive installation, which can be summarized as a portable music staff where the actual scores/notes were hung on like a washing line."}, {"id": "32", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "tracks": [{"id": "27", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}], "whether": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}], "system": [{"id": "09", "sentence": "Transmitted through a beamer and an audio system, everything becomes visible and audible."}, {"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "24", "sentence": "The system was therefore completely stuck."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}, {"id": "31", "sentence": "A huge public announcement system was in the office blazing loud, but very articulated sound."}], "properly": [{"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}], "details": [{"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}], "intuitive": [{"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}], "Inspiration": [{"id": "20", "sentence": "Inspiration comes in the form of vocal poetry, 'poésie sonore' and text-sound composition."}], "Iglesias": [{"id": "24", "sentence": "The Ping Pong Song)' by Enrique Iglesias 'Doing It Right' by The Go!"}], "strange": [{"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}], "KAHN": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}], "cheap": [{"id": "04", "sentence": "They are cheap dummy books, onto which he poured ink in several colors."}], "12": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}], "teach": [{"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}], "Klafferi": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "outhouse": [{"id": "27", "sentence": "She still stores coal there in a small outhouse (called 'kullbingen')."}], "emancipating": [{"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}], "logical": [{"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}], "made": [{"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "Colson made two booklets in the 'Principium' series – comprised of reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "10", "sentence": "Her score was made on the spot with programming language; a sort of live coding."}, {"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "Yet these alternate approaches brought us together and made 'Pushing Scores' real."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "19", "sentence": "Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "21", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "21", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "This Icelandic quartet plays with little analogue instruments and animation scores Gunnarsson made on his computer."}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "27", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "27", "sentence": "The musique concrète, as developed by Henry at GRM, was made by magnetic tape."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "27", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "27", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Since the beginning of his practice, he has made extensive use of recorded sound."}, {"id": "28", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "32", "sentence": "Robert Kroos made a setup that enabled him to respond to a multitude of parameters."}], "Lierman": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "27", "sentence": "Mining' by BJ Nilsen, 'Jazz' by Max Franklin and 'Earthquake' by Aurelie Lierman."}], "Circular": [{"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}], "presentations": [{"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}], "garnered": [{"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "Then": [{"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}], "brutal": [{"id": "06", "sentence": "That's quite brutal to listen to in concentration, to be honest."}], "I": [{"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": ", that I went in that direction."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts."}, {"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "06", "sentence": "Yet I felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "And since I'm a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, which determines the rhythm."}, {"id": "06", "sentence": "I followed that score for eight hours straight."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Kris Delacourt: Oh, I think it's definitely something that's still evolving."}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "So I don’t think I've quite finished with it, no."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB Records."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Sometimes I preferred elements because of harmonic information, notes that work well together, sometimes because of rhythms that worked well, etc."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it's own."}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "06", "sentence": "I could have gone for something more 'correct' in terms of concept – I don't know, pure sine waves or something."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "Kris Delacourt: I do look at it as a solo thing."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "And I follow that."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "So I don't think I belong in the conceptual art section."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "I don't know."}, {"id": "06", "sentence": "I don't think of it as a manifesto or anything."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}, {"id": "06", "sentence": "I don't feel this record has that."}, {"id": "06", "sentence": "Kris Delacourt: I certainly do hope that it's enjoyable."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "06", "sentence": "I guess I am aiming for the best of both worlds there."}, {"id": "07", "sentence": "Resonanz' is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "Until I tried it."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "23", "sentence": "I think silence has that same relation with music."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "27", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "27", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "27", "sentence": "I did the same with coal."}, {"id": "27", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "27", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "I'm very interested in the hidden layers and history the landscape."}, {"id": "27", "sentence": "That's why I wanted to have a thread about the regeneration of mining areas."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "27", "sentence": "I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "27", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "27", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "27", "sentence": "I had hundreds of cassette tapes, mostly TDK."}, {"id": "27", "sentence": "I'm always processing and refining my field recordings."}, {"id": "27", "sentence": "I apply filters, use electronics."}], "seismic": [{"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "27", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}], "afforded": [{"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}], "anyone": [{"id": "32", "sentence": "It invited anyone to follow simple instructions to create a spatial representation of different people's individual navigations through the archive."}], "duplicated": [{"id": "05", "sentence": "The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself."}], "STRIPPED": [{"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}], "beneath": [{"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "composing": [{"id": "14", "sentence": "It completely complimented our thinking around how to imagine the concept of composing and making scores."}, {"id": "22", "sentence": "This technique of composing is performed by Guðmundur Steinn Gunnarsson and his quartet Fersteinn."}, {"id": "24", "sentence": "Johannes Kreidler is a special case when it comes to composing."}, {"id": "24", "sentence": "His way of composing has a multimedia conceptual approach, which is mostly linked with processes in society."}, {"id": "24", "sentence": "This makes it particularly interesting when viewed from the perspective of experimentation and unorthodox composing."}, {"id": "30", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "32", "sentence": "The project investigated the state of the arts of composing scores in a contemporary environment and spanned over 2-3 years."}], "Stuttering": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "Minnesota": [{"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}], "shoot": [{"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "nice": [{"id": "06", "sentence": "Interestingly, he thought his resulting collages would be nice to use as scores – and they probably would have been."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}], "Figures": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "Scarlet": [{"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}], "Pfizer": [{"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}], "countries": [{"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}], "treated": [{"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "Akan": [{"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}], "involving": [{"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "32", "sentence": "Christine Cornwell is a composer and violinist working between NL/UK with projects involving improvisation and collaborative work often combined with visual artists, dancers, opera companies or experimental TV."}], "processing": [{"id": "10", "sentence": "Vuksic considers the time and space of computer processing and memory as levels of reality."}, {"id": "27", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "27", "sentence": "I'm always processing and refining my field recordings."}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}], "manifesto": [{"id": "06", "sentence": "I don't think of it as a manifesto or anything."}], "booklets": [{"id": "06", "sentence": "Colson made two booklets in the 'Principium' series – comprised of reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}], "actually": [{"id": "06", "sentence": "Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "Well, a little… Two years, actually."}, {"id": "06", "sentence": "Were there people who actually listened to the whole eight-hour performance?"}, {"id": "06", "sentence": "The improvisation might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "Quite the contrary, actually."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "Far down in the Earth the rock is actually moving."}], "Guillemots": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "collaborates": [{"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}], "toying": [{"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}], "media": [{"id": "01", "sentence": "This continues to question the representation of sound in media to this day."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "02", "sentence": "The result is a combination of several media, which all coexist in a designed concrete object."}, {"id": "04", "sentence": "JUSTIN BENNETT (UK) Justin Bennett is an artist working with sound and visual media."}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "24", "sentence": "Johannes Kreidler is a composer and concept and media artist."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "29", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "32", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}], "her": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it's use as a technology within her work."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "It was a good concert and her way of working fit into our ideas of exploring graphic scores very well."}, {"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "26", "sentence": "She presented her project entitled 'Arachnes Sonifier', in which she captures and makes audible spider webs."}, {"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}, {"id": "26", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "unwanted": [{"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}], "counterparts": [{"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "imprudently": [{"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}], "POLY-DISO": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}], "arriving": [{"id": "28", "sentence": "The medium of radio still plays a role in arriving at compositions."}], "hacked": [{"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}], "tone": [{"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}], "With": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "07", "sentence": "With 'Resonanz', Telcosystems presents an electronic book that combines a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Team 'Don't' by Elvis Presley With The Jordanaires 'Don't Dance' by Midas 'Don't Give It Up' by Siobhan Donaghy"}], "Nilsen": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}, {"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "27", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "27", "sentence": "Benny Nilsen approached us with his project 'ORE'."}, {"id": "27", "sentence": "Mining' by BJ Nilsen, 'Jazz' by Max Franklin and 'Earthquake' by Aurelie Lierman."}, {"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}], "Tielemans": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "purpose": [{"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}], "Synthesizer": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}], "literally": [{"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}], "local": [{"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}], "instrument-builder": [{"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}], "Aux": [{"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "Gallium": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "six": [{"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}, {"id": "06", "sentence": "Peter brought six record players, matching the six colours of the vinyl nicely – two notes each."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}], "access": [{"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}], "rhythmic": [{"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "21", "sentence": "Gunnarsson's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}], "happened": [{"id": "06", "sentence": "So that's what happened."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "27", "sentence": "What shifts happened in the past?"}], "blanks": [{"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}], "Clock": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Ayas": [{"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}], "identify": [{"id": "27", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}], "pass": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}], "late": [{"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}], "staff": [{"id": "08", "sentence": "We decided to envision the framework for the installation as a three-dimensional staff to write down music."}, {"id": "11", "sentence": "In the eleventh century, Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "32", "sentence": "Niek built an interactive installation, which can be summarized as a portable music staff where the actual scores/notes were hung on like a washing line."}], "Feldman": [{"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}], "Contempory": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}], "lecture-form": [{"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}], "items": [{"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "32", "sentence": "Varia contributed by developing an archival web publication where the vernacular vocabulary of De Player creates the possibilities of text-based navigation across the collection of items."}, {"id": "32", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}], "Saelemakers": [{"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}], "refers": [{"id": "06", "sentence": "DE PLAYER: The Ultra Eczema site refers to this record as your debut LP."}, {"id": "12", "sentence": "It refers to the era of printed music (1500–1900)."}], "our": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "We proposed to the students that they devise an issue of our publication Tetra Gamma Circulaire."}, {"id": "02", "sentence": "We worked around the ideas present in our 'Pushing Scores' project."}, {"id": "04", "sentence": "At every level of detail, the everyday sound of our urban surroundings is the focus of his work."}, {"id": "04", "sentence": "These books were the starting point for curating the event, which subsequently sat within our 'Pushing Scores' project."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "05", "sentence": "Colson's works examine core questions: What power does art have to change us and our society?"}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "It was a good concert and her way of working fit into our ideas of exploring graphic scores very well."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "14", "sentence": "It completely complimented our thinking around how to imagine the concept of composing and making scores."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}, {"id": "25", "sentence": "Ana Guedes' project 'UNTITLED RECORDS' fits into our idea of finding new ways to compose very seamlessly."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "28", "sentence": "John Duncan took part in our event on 5 Oct 2018."}, {"id": "31", "sentence": "We got in touch with Marco Fusinato through our '8-INCH' series."}], "glissandi": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "combination": [{"id": "02", "sentence": "The result is a combination of several media, which all coexist in a designed concrete object."}], "Knowledge": [{"id": "26", "sentence": "Knowledge sharing across traditions has often taken place through oral mythology."}], "Hohti": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "31st": [{"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}], "transducers": [{"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}], "obviously": [{"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}], "listening": [{"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it's own."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}], "adopted": [{"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}, {"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}], "inspired": [{"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}], "pulsations": [{"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}], "meet": [{"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}], "concentrated": [{"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}], "DOB073": [{"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}], "notes": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Peter brought six record players, matching the six colours of the vinyl nicely – two notes each."}, {"id": "06", "sentence": "Sometimes I preferred elements because of harmonic information, notes that work well together, sometimes because of rhythms that worked well, etc."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "30", "sentence": "The end titles of many black MIDI videos display how many notes are in the piece."}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "32", "sentence": "Niek built an interactive installation, which can be summarized as a portable music staff where the actual scores/notes were hung on like a washing line."}], "leave": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}], "Synthesia": [{"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "get": [{"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "27", "sentence": "One is the waste you make to get to the ore."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "27", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "27", "sentence": "You have to take a boat to get there."}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "27", "sentence": "All to get to the desired result: The gold!"}], "functions": [{"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "06", "sentence": "And since I'm a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}], "filmmaker": [{"id": "04", "sentence": "FLORIS VANHOOF (BE) Floris Vanhoof is a filmmaker and musician from Belgium."}], "IS": [{"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}], "14": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}], "technician": [{"id": "09", "sentence": "JOHANNES BERGMARK (SE) Johannes Bergmark is a Fylkingen-affiliated sound artist, instrument builder and piano technician."}], "reproducibility": [{"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}], "Sugababes": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "extended": [{"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}], "generations": [{"id": "20", "sentence": "New generations are born."}], "approach": [{"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "Varia will host the evening, and explain their ideas and approach to developing the archive."}, {"id": "21", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "24", "sentence": "His way of composing has a multimedia conceptual approach, which is mostly linked with processes in society."}, {"id": "25", "sentence": "Her archival approach and its political and personal implications are the starting point of this work."}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}, {"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}], "den": [{"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}], "production": [{"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "27", "sentence": "This was part of a test production of around 30,000 tons."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}, {"id": "32", "sentence": "The material is embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "CA": [{"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}], "NL": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "RAFAËL ROZENDAAL (NL) Rafaël Rozendaal is a visual artist who uses the Internet as his canvas."}, {"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "TELCOSYSTEMS (NL) Telcosystems presents 'Resonanz', an electronic book combining a series of visual artworks and a sound publication."}, {"id": "10", "sentence": "VALENTINA VUKSIC (CH/NL) Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "32", "sentence": "Christine Cornwell is a composer and violinist working between NL/UK with projects involving improvisation and collaborative work often combined with visual artists, dancers, opera companies or experimental TV."}], "includes": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}, {"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}], "imagination": [{"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}], "Feb": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "intertwine": [{"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}], "Delft": [{"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}], "Cold": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}], "implications": [{"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "Her archival approach and its political and personal implications are the starting point of this work."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}], "set": [{"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}, {"id": "06", "sentence": "Together, all twelve records form the complete set, which one 'game' requires."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "13", "sentence": "The entire 'Pushing Scores' project was set up in cooperation with Remco van Bladel."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "25", "sentence": "Because she uses and records the archive, the end result almost turns out to be a DJ set."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "rough": [{"id": "06", "sentence": "So you end up with a first rough selection."}], "national": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology and national security."}], "themes": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "24", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "24", "sentence": "According to Kreidler, the action, entitled 'Fremdarbeit', is intended to focus attention on the themes of exploitation and authorship."}], "hacking": [{"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}], "boss": [{"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}], "Martens": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}], "analog": [{"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}], "instruction": [{"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}], "closely": [{"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}, {"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}], "labels": [{"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "31", "sentence": "For this we published 8\" records with artists and labels."}, {"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}], "culminating": [{"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}], "pre-digital": [{"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}], "newcriticals": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "usually": [{"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "21", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "24", "sentence": "He usually uses multimedia elements."}], "poetry": [{"id": "06", "sentence": "Abstract poetry."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "19", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "19", "sentence": "For example, his work 'frakativ' is an electronic visual sound poetry performance."}, {"id": "19", "sentence": "The performance 'frikativ' is real-time generated visual and sound poetry."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}, {"id": "19", "sentence": "For this he developed specific software that generates poetry in spoken-word form."}, {"id": "20", "sentence": "Inspiration comes in the form of vocal poetry, 'poésie sonore' and text-sound composition."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}], "stand": [{"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "Kuro": [{"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}], "genre": [{"id": "20", "sentence": "The style and/or genre determine the identity."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "Hilde": [{"id": "27", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}], "boat": [{"id": "27", "sentence": "You have to take a boat to get there."}], "Stone": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "guise": [{"id": "07", "sentence": "Julia Bünnagel was also invited, under the guise of contributing a more physical input."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "solo": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "Kris Delacourt: I do look at it as a solo thing."}, {"id": "07", "sentence": "Julia's solo live performances primarily refer to the modified vinyl records that produce extraordinary sounds."}], "India": [{"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}], "Nancarrow": [{"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}], "reconstruction": [{"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}], "feel": [{"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "Does it feel like that for you too: As your first 'real' album, as a statement?"}, {"id": "06", "sentence": "I don't feel this record has that."}], "satisfaction": [{"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "materiality": [{"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}], "Duckfood": [{"id": "32", "sentence": "Robert Kroos (aka Duckfood) is a Rotterdam based musician, sound-artist and DJ working on all kinds of sound- and music related projects."}], "providing": [{"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}], "How": [{"id": "06", "sentence": "How do you do that?"}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "How do you perceive the function a piece of vinyl can have?"}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "27", "sentence": "How much influence does it have on a community?"}, {"id": "27", "sentence": "In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it ."}], "Happen": [{"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}], "Shot": [{"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}], "Teddy": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "specialised": [{"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}], "pre-date": [{"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "tradable": [{"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}], "O": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "later": [{"id": "11", "sentence": "A seventh note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}], "dare": [{"id": "02", "sentence": "Some dare to say that it’s a kind of jukebox."}], "non-profit": [{"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "Post-war": [{"id": "16", "sentence": "Post-war developments continued in this direction."}], "hop": [{"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}], "Preachers": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}], "in-residence": [{"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}], "behind-the-scenes": [{"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "stone": [{"id": "27", "sentence": "It doesn't relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "27", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "27", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "27", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "27", "sentence": "Different types of stone give different frequency readings."}], "back": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}], "called": [{"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "08", "sentence": "The initiatives gather within a part of the programme called 'Intersections'."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called 'telephone adapters'."}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}, {"id": "18", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called 'cheironmy'."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "21", "sentence": "Fersteinn works with the method of so-called 'animation'."}, {"id": "22", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "22", "sentence": "He runs his own multi-instrumentalist quartet called Fersteinn."}, {"id": "27", "sentence": "She still stores coal there in a small outhouse (called 'kullbingen')."}, {"id": "31", "sentence": "One of Marco's most-known projects is called 'Black Mass Implosion'."}], "Beginning": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "didn": [{"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "If something was interesting for a while, but didn't stay interesting, it had to go."}, {"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}], "equivalent": [{"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "two-year": [{"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}], "others": [{"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}], "words": [{"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}], "failures": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "perspectives": [{"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "32", "sentence": "The material is embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "Vector": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}], "action": [{"id": "05", "sentence": "This print run is to be seen as a performative action."}, {"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "24", "sentence": "According to Kreidler, the action, entitled 'Fremdarbeit', is intended to focus attention on the themes of exploitation and authorship."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "silence": [{"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "23", "sentence": "I think silence has that same relation with music."}], "analogue": [{"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "20", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "22", "sentence": "This Icelandic quartet plays with little analogue instruments and animation scores Gunnarsson made on his computer."}], "x": [{"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART x JUBILEE event in 2017."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "death": [{"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}], "around": [{"id": "02", "sentence": "We worked around the ideas present in our 'Pushing Scores' project."}, {"id": "02", "sentence": "Each student had to develop their own project around the process of making a score."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}, {"id": "14", "sentence": "It completely complimented our thinking around how to imagine the concept of composing and making scores."}, {"id": "20", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}, {"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}, {"id": "27", "sentence": "This was part of a test production of around 30,000 tons."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "revolutionised": [{"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}], "producing": [{"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}], "acoustics": [{"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}], "woke": [{"id": "27", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}], "Maurice": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}], "mutually": [{"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}], "term": [{"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "22", "sentence": "Anitation' is the term for animated notation."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}], "became": [{"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}], "yielding": [{"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}], "For": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp-based artists to contribute to the project."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "04", "sentence": "For this event he will work with a film projection and a synthesizer, which he influences with his brainwaves."}, {"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "07", "sentence": "For this evening event, 'Resonanz' will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpart to his own musical input."}, {"id": "11", "sentence": "For this multi-vocal composition, Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "19", "sentence": "For example, his work 'frakativ' is an electronic visual sound poetry performance."}, {"id": "19", "sentence": "For 'Pushing Scores', we invited him to make special work for a limited edition."}, {"id": "19", "sentence": "For this he developed specific software that generates poetry in spoken-word form."}, {"id": "19", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}, {"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "For this event, Kahn did some kind of improvisation session on the works of the three invited artists."}, {"id": "27", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}, {"id": "31", "sentence": "For this we published 8\" records with artists and labels."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}, {"id": "32", "sentence": "For this special event he used be using the guzheng and electronics as instruments of choice."}], "came": [{"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "06", "sentence": "At least, that's where the initial form and the name came from."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}], "type": [{"id": "01", "sentence": "Later on, this developed into the type of musical notation we are familiar with in Western music."}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}], "intense": [{"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "Transformation": [{"id": "30", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}], "backgrounds": [{"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}], "one": [{"id": "02", "sentence": "This is a magazine without any format, with the intention for a new one to be developed each time."}, {"id": "02", "sentence": "All these scores then had to come together in one magazine/object."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Together, all twelve records form the complete set, which one 'game' requires."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "In this way you would end up with all different records, each one an original."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "06", "sentence": "The improvisation might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "It really was a one-time event, with the vinyls functioning as a tool, yes."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (of one or more people)."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}, {"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}, {"id": "24", "sentence": "Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}, {"id": "26", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}, {"id": "27", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "This one is a pretty contemporary example and results in great imagery and sound."}, {"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}, {"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}, {"id": "32", "sentence": "Christine Cornwell one dot = one degree / one step / one word spoken This piece explores different layers of interpretation taken from the starting point of any archive-text-score."}], "temple": [{"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}], "Park": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "tonality": [{"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "13", "sentence": "He sees it as punk, experimental, noise, investigative and critical, searching for dissonance and ordering of information, for rhythm and tonality."}], "Resonanz": [{"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "TELCOSYSTEMS (NL) Telcosystems presents 'Resonanz', an electronic book combining a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "On this evening, 'Resonanz' will be the starting point for a Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "With 'Resonanz', Telcosystems presents an electronic book that combines a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "For this evening event, 'Resonanz' will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "Resonanz' is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}], "pdf": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Cry": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "translation": [{"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}], "Water": [{"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}], "easy": [{"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it's own."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}], "regarding": [{"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}], "referring": [{"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}], "structures": [{"id": "24", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}], "expected": [{"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}], "lignite": [{"id": "27", "sentence": "It's not iron ore but lignite, 'braunkohle'."}], "Tokyo": [{"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "figure": [{"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}], "sites": [{"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}], "important": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "20", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "20", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "20", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}, {"id": "20", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "27", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "27", "sentence": "It is important for companies to manage this."}], "invited": [{"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp-based artists to contribute to the project."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "Julia Bünnagel was also invited, under the guise of contributing a more physical input."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "16", "sentence": "Derek Holzer was invited for the event 'PUSHING' on 20 Jan 2017."}, {"id": "19", "sentence": "For 'Pushing Scores', we invited him to make special work for a limited edition."}, {"id": "27", "sentence": "For this event, Kahn did some kind of improvisation session on the works of the three invited artists."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}, {"id": "32", "sentence": "It invited anyone to follow simple instructions to create a spatial representation of different people's individual navigations through the archive."}], "formation": [{"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}], "far": [{"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}], "text-sound": [{"id": "20", "sentence": "Inspiration comes in the form of vocal poetry, 'poésie sonore' and text-sound composition."}], "Winnipeg": [{"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}], "Miles": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "lie": [{"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}], "Europe": [{"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}], "Wait": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "ancient": [{"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}], "Sundown": [{"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}], "slag": [{"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}], "write": [{"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "08", "sentence": "We decided to envision the framework for the installation as a three-dimensional staff to write down music."}], "awareness": [{"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}], "laser": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}], "highly": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}], "cut-up": [{"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}], "expand": [{"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}], "most": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "22", "sentence": "In that way, the most irregular things can become very intelligible."}, {"id": "26", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "31", "sentence": "One of Marco's most-known projects is called 'Black Mass Implosion'."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}], "ensure": [{"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}], "straightforward": [{"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}], "Harpverk": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "80s": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}], "United": [{"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}], "aesthetic": [{"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "Jörg": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}], "scar": [{"id": "27", "sentence": "It is a vast scar in the landscape, and really an incredible place."}], "Blackers": [{"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "tons": [{"id": "06", "sentence": "And since I'm a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "27", "sentence": "This was part of a test production of around 30,000 tons."}], "analogous": [{"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}], "lesser": [{"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}], "web-publication": [{"id": "32", "sentence": "Pushing Scores website launch and performance evening At the end of 2018, De Player approached Varia to develop a web-publication for their Pushing Scores project archive, which resulted in the current website."}], "integration": [{"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}], "events": [{"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}], "Heroes": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "gray": [{"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}], "date": [{"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}], "8": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "31", "sentence": "We got in touch with Marco Fusinato through our '8-INCH' series."}, {"id": "31", "sentence": "For this we published 8\" records with artists and labels."}], "risk": [{"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "Uniting": [{"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}], "bodies": [{"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}], "marginalised": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}], "pasting": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}], "anxieties": [{"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}], "Am": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}], "early": [{"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "16", "sentence": "In the early 1960s, the composer Morton Subotnik employed engineer Don Buchla to help him create 'the music of the future'."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}], "Experimental": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "Jamelia": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "conception": [{"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}], "plastic": [{"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}], "create": [{"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "16", "sentence": "In the early 1960s, the composer Morton Subotnik employed engineer Don Buchla to help him create 'the music of the future'."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}, {"id": "32", "sentence": "It invited anyone to follow simple instructions to create a spatial representation of different people's individual navigations through the archive."}], "washing": [{"id": "32", "sentence": "Niek built an interactive installation, which can be summarized as a portable music staff where the actual scores/notes were hung on like a washing line."}], "University": [{"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}, {"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}, {"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "27", "sentence": "Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34."}, {"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "hold": [{"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}], "media-technical": [{"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}], "Rumble": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "These": [{"id": "04", "sentence": "These works deal with continuity and endless accessibility."}, {"id": "04", "sentence": "These books were the starting point for curating the event, which subsequently sat within our 'Pushing Scores' project."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "11", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "18", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "26", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "These questions are really haunting me ."}, {"id": "27", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}], "approaches": [{"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "07", "sentence": "To complete the event we searched for two completely different approaches to composition."}, {"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called 'telephone adapters'."}, {"id": "13", "sentence": "Yet these alternate approaches brought us together and made 'Pushing Scores' real."}, {"id": "24", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}], "blog": [{"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}], "worrying": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}], "Rostock": [{"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}], "scores": [{"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Metrostation Maashaven."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "02", "sentence": "All these scores then had to come together in one magazine/object."}, {"id": "02", "sentence": "One restriction was decided upon: The scores had to be presented on floppy disc."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "06", "sentence": "Interestingly, he thought his resulting collages would be nice to use as scores – and they probably would have been."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "And since I'm a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "It was a good concert and her way of working fit into our ideas of exploring graphic scores very well."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "14", "sentence": "It completely complimented our thinking around how to imagine the concept of composing and making scores."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "21", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "Instead of using traditional musical scores during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "This Icelandic quartet plays with little analogue instruments and animation scores Gunnarsson made on his computer."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "29", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}, {"id": "32", "sentence": "The project investigated the state of the arts of composing scores in a contemporary environment and spanned over 2-3 years."}, {"id": "32", "sentence": "The material is embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "32", "sentence": "Niek built an interactive installation, which can be summarized as a portable music staff where the actual scores/notes were hung on like a washing line."}, {"id": "32", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}], "langbeinite": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Hausswolff": [{"id": "28", "sentence": "Duncan also often works with Carl Michael Hausswolff, who is an expert in EVP."}], "Aside": [{"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}], "greatly": [{"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}], "Your": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "field": [{"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "05", "sentence": "He opens up the artistic field to explore what is happening in the art world."}, {"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "27", "sentence": "I'm always processing and refining my field recordings."}, {"id": "28", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}], "developing": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "10", "sentence": "Varia will host the evening, and explain their ideas and approach to developing the archive."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "32", "sentence": "Varia contributed by developing an archival web publication where the vernacular vocabulary of De Player creates the possibilities of text-based navigation across the collection of items."}], "Razorlight": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "branches": [{"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}], "oral": [{"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "26", "sentence": "Knowledge sharing across traditions has often taken place through oral mythology."}], "Gerasimenko": [{"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}], "GAMMA": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}], "PT": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "nomadic": [{"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}], "Dream": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}], "GEMA": [{"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}], "him": [{"id": "06", "sentence": "to him."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "16", "sentence": "In the early 1960s, the composer Morton Subotnik employed engineer Don Buchla to help him create 'the music of the future'."}, {"id": "19", "sentence": "For 'Pushing Scores', we invited him to make special work for a limited edition."}, {"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "24", "sentence": "Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}, {"id": "32", "sentence": "Robert Kroos made a setup that enabled him to respond to a multitude of parameters."}], "General": [{"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}], "folkoristic": [{"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}], "plan": [{"id": "27", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}], "caused": [{"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "hones": [{"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}], "Tyfus": [{"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "There's Vaast Colson, Peter Flenger and Dennis Tyfus too."}], "amblygonite": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "States": [{"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}], "bullet": [{"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "twelve": [{"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}, {"id": "06", "sentence": "The final installation will have twelve separate pieces: A complete octave."}, {"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "06", "sentence": "Together, all twelve records form the complete set, which one 'game' requires."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "There’s something appealing in the number twelve even, and there's the appeal of building instruments too."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}], "past": [{"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "27", "sentence": "What shifts happened in the past?"}, {"id": "27", "sentence": "Why did people in the past settle in an environment like this?"}], "suited": [{"id": "11", "sentence": "The invitation was perfectly suited for a project in public space that he had in mind for 'Pushing Scores'."}], "collect": [{"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "population": [{"id": "27", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope."}], "ever": [{"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}], "expansion": [{"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "Call": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "effective": [{"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}], "Indium": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "N": [{"id": "24", "sentence": "Patrick Stump 'Curvy Cola Bottle Body' by Chico 'D.A.N.C.E."}, {"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}], "While": [{"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}], "urban": [{"id": "04", "sentence": "At every level of detail, the everyday sound of our urban surroundings is the focus of his work."}], "Fusinato": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}, {"id": "31", "sentence": "We got in touch with Marco Fusinato through our '8-INCH' series."}, {"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "31", "sentence": "Fusinato's 'Mass Black Implosion' series began in 2007."}, {"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "operational": [{"id": "27", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}], "September": [{"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "often": [{"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "15", "sentence": "Holzer often works through a long, rigorous process of self-education in electronics."}, {"id": "22", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "24", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "26", "sentence": "Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "Duncan also often works with Carl Michael Hausswolff, who is an expert in EVP."}, {"id": "32", "sentence": "Christine Cornwell is a composer and violinist working between NL/UK with projects involving improvisation and collaborative work often combined with visual artists, dancers, opera companies or experimental TV."}], "from": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "FLORIS VANHOOF (BE) Floris Vanhoof is a filmmaker and musician from Belgium."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "06", "sentence": "Principium' comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "At least, that's where the initial form and the name came from."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "However, it was decided to start from the floppy disc as a medium."}, {"id": "10", "sentence": "The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "13", "sentence": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "18", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called 'cheironmy'."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "21", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}, {"id": "24", "sentence": "This makes it particularly interesting when viewed from the perspective of experimentation and unorthodox composing."}, {"id": "25", "sentence": "Ana Guedes is a multidisciplinary artist from Portugal who lives and works in the Hague."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "27", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "28", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}, {"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}, {"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}, {"id": "32", "sentence": "Christine Cornwell one dot = one degree / one step / one word spoken This piece explores different layers of interpretation taken from the starting point of any archive-text-score."}], "take": [{"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "27", "sentence": "You have to take a boat to get there."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}], "indicate": [{"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}], "Was": [{"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}], "professional": [{"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "28", "sentence": "When we met we had discussions about several professional subjects and decided to realise a publication."}], "Possibilities": [{"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}], "agreed": [{"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}], "Chasing": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "cleave": [{"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "survive": [{"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "27", "sentence": "You can only survive there if you work with nature."}], "composed": [{"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "formed": [{"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "created": [{"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "It created a vacuum after it closed."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}, {"id": "29", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "30", "sentence": "They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "32", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}], "consciously": [{"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}], "meeting": [{"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "rethinker": [{"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}], "representation": [{"id": "01", "sentence": "Throughout 2016, 2017 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media to this day."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "32", "sentence": "It invited anyone to follow simple instructions to create a spatial representation of different people's individual navigations through the archive."}], "Kingston": [{"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}], "underpinning": [{"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}], "message": [{"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "DEREK": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}], "Shakira": [{"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}], "risk-free": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "Nuur": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "live": [{"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "On this evening, 'Resonanz' will be the starting point for a Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "For this evening event, 'Resonanz' will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Julia's solo live performances primarily refer to the modified vinyl records that produce extraordinary sounds."}, {"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "On the live oscilloscope concert Holzer states, 'The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "Her score was made on the spot with programming language; a sort of live coding."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "From this perspective, his live performances can also be considered as black mass implosions."}], "publishing": [{"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}, {"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "02", "sentence": "TGC#3 is a particular kind of publishing platform engineered for sonic experiments, instruments and installations."}, {"id": "04", "sentence": "His studio work focuses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "This not only counts for publishing but also for exploring new possibilities for artist practice in general."}], "JODI": [{"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}], "Sunblock": [{"id": "24", "sentence": "Justin Timberlake & Timbaland 'Baby Baby' by Sunblock feat."}], "floppy": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}, {"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "02", "sentence": "One restriction was decided upon: The scores had to be presented on floppy disc."}, {"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}, {"id": "09", "sentence": "However, it was decided to start from the floppy disc as a medium."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}], "FR": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}], "Just": [{"id": "01", "sentence": "Just so you can see them day and night, for roughly three weeks long."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}], "somewhere": [{"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "Kris Delacourt: The 10\" records have all been sold as well, so they sit somewhere in the middle."}], "spoken": [{"id": "19", "sentence": "For this he developed specific software that generates poetry in spoken-word form."}, {"id": "19", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "32", "sentence": "Christine Cornwell one dot = one degree / one step / one word spoken This piece explores different layers of interpretation taken from the starting point of any archive-text-score."}], "de-mass-splintering": [{"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}], "appointment": [{"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}], "commemoration": [{"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}], "soundwaves": [{"id": "27", "sentence": "Through soundwaves geologists are able to map what is underground."}], "stones": [{"id": "27", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "jive": [{"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}], "vocation": [{"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}], "earlier": [{"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}], "Anitation": [{"id": "22", "sentence": "Anitation' is the term for animated notation."}], "randomly": [{"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "flushed": [{"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "27", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}], "across": [{"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "07", "sentence": "On the live oscilloscope concert Holzer states, 'The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "21", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "Instead of using traditional musical scores during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "26", "sentence": "Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "32", "sentence": "Varia contributed by developing an archival web publication where the vernacular vocabulary of De Player creates the possibilities of text-based navigation across the collection of items."}], "accounts": [{"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "served": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "31", "sentence": "Good food and drinks were served."}], "unorthodox": [{"id": "24", "sentence": "This makes it particularly interesting when viewed from the perspective of experimentation and unorthodox composing."}], "follows": [{"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "27", "sentence": "The composition follows a more or less linear path, starting with 'deep' time."}, {"id": "27", "sentence": "The composition follows a more or less linear path – starting with deep time."}], "Artists": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}], "1900": [{"id": "12", "sentence": "It refers to the era of printed music (1500–1900)."}], "sound-": [{"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "32", "sentence": "Robert Kroos (aka Duckfood) is a Rotterdam based musician, sound-artist and DJ working on all kinds of sound- and music related projects."}], "Chelsea": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "TERRAIN": [{"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}], "misconception": [{"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}], "eventually": [{"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}], "key": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}], "firmament": [{"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}], "Axle": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Stupidisco": [{"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}], "e-warriors": [{"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "translated": [{"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}], "Dutch": [{"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}], "BJ": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}, {"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "27", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "27", "sentence": "Mining' by BJ Nilsen, 'Jazz' by Max Franklin and 'Earthquake' by Aurelie Lierman."}], "polyphonic": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}], "wrangling": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "Transparent": [{"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}], "very": [{"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "06", "sentence": "It just rang as very poetic to me."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "10", "sentence": "It was a good concert and her way of working fit into our ideas of exploring graphic scores very well."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "22", "sentence": "It results in very delicate and unconventional chamber music."}, {"id": "22", "sentence": "In that way, the most irregular things can become very intelligible."}, {"id": "25", "sentence": "Ana Guedes' project 'UNTITLED RECORDS' fits into our idea of finding new ways to compose very seamlessly."}, {"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}, {"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}, {"id": "27", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "27", "sentence": "I'm very interested in the hidden layers and history the landscape."}, {"id": "31", "sentence": "A huge public announcement system was in the office blazing loud, but very articulated sound."}], "So": [{"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "01", "sentence": "So what is the current state of the graphic score?"}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "So the C note runs for tens minutes and the B note is something like five minutes and twenty seconds."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "So that's what happened."}, {"id": "06", "sentence": "So I don’t think I've quite finished with it, no."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "So I don't think I belong in the conceptual art section."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "So more drone, definitely."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "27", "sentence": "So much time is compressed in this material and it's burned up in minutes."}], "samples": [{"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}], "vocalising": [{"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}], "energy": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology and national security."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}, {"id": "27", "sentence": "It's not like wind or the sun, which give you immediate energy."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "closer": [{"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}], "borderline": [{"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}], "tenuous": [{"id": "26", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}], "extremely": [{"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "archiving": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}], "Crystal": [{"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}], "spanned": [{"id": "32", "sentence": "The project investigated the state of the arts of composing scores in a contemporary environment and spanned over 2-3 years."}], "rudimentary": [{"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "ARTKILLART": [{"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART x JUBILEE event in 2017."}, {"id": "10", "sentence": "The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}], "kind": [{"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "02", "sentence": "TGC#3 is a particular kind of publishing platform engineered for sonic experiments, instruments and installations."}, {"id": "02", "sentence": "Some dare to say that it’s a kind of jukebox."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But it's still a relevant idea to me, this kind of creative misuse."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "For this event, Kahn did some kind of improvisation session on the works of the three invited artists."}, {"id": "27", "sentence": "It’s a kind of sound alchemy."}], "patterns": [{"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "21", "sentence": "Gunnarsson's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}], "Näätämö": [{"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}], "getting": [{"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}], "begin": [{"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}], "phonic": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "24", "sentence": "This piece is to be seen as a plunder phonic composition in extremis."}], "displacement": [{"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "reminded": [{"id": "27", "sentence": "It's good for the human psyche to be reminded of that."}], "cybernetics": [{"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}], "xenotime": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "played": [{"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}, {"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "20", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}, {"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "30", "sentence": "They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}], "Vanhoof": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "FLORIS VANHOOF (BE) Floris Vanhoof is a filmmaker and musician from Belgium."}, {"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}], "e": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "20", "sentence": "Improper uses of consumer electronics (e.g."}, {"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}], "wanting": [{"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}], "dots": [{"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "The office material, those colourful little dots."}, {"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}], "Night": [{"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}], "Christine": [{"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}, {"id": "32", "sentence": "Christine Cornwell one dot = one degree / one step / one word spoken This piece explores different layers of interpretation taken from the starting point of any archive-text-score."}, {"id": "32", "sentence": "Christine Cornwell is a composer and violinist working between NL/UK with projects involving improvisation and collaborative work often combined with visual artists, dancers, opera companies or experimental TV."}], "2000": [{"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}], "sound-artist": [{"id": "32", "sentence": "Robert Kroos (aka Duckfood) is a Rotterdam based musician, sound-artist and DJ working on all kinds of sound- and music related projects."}], "stickers": [{"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}], "tangible": [{"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}], "seen": [{"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "05", "sentence": "This print run is to be seen as a performative action."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "24", "sentence": "This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}, {"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "pushing": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}], "RAFAËL": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "RAFAËL ROZENDAAL (NL) Rafaël Rozendaal is a visual artist who uses the Internet as his canvas."}], "scary": [{"id": "27", "sentence": "That is quite scary."}], "11": [{"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}], "Gallery": [{"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}], "Universiteit": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "coexist": [{"id": "02", "sentence": "The result is a combination of several media, which all coexist in a designed concrete object."}], "Drivers": [{"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "generated": [{"id": "19", "sentence": "The performance 'frikativ' is real-time generated visual and sound poetry."}, {"id": "19", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}], "waste": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "One is the waste you make to get to the ore."}, {"id": "27", "sentence": "If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "27", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}], "Pure": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "sense": [{"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "27", "sentence": "In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it ."}, {"id": "30", "sentence": "In that sense, there is never a perfect reproduction but always an interpretation."}], "invisible": [{"id": "26", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}], "line": [{"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "He then reassembled these line segments into new shapes and new lines."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "11", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "18", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "27", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "32", "sentence": "Niek built an interactive installation, which can be summarized as a portable music staff where the actual scores/notes were hung on like a washing line."}], "processors": [{"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}], "deep-mining-deep-time": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "security": [{"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology and national security."}], "Heinz": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "directors": [{"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}], "existing": [{"id": "06", "sentence": "Yet I felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "M": [{"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}], "Adrian": [{"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "Blue": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "era": [{"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "12", "sentence": "It refers to the era of printed music (1500–1900)."}, {"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}], "rests": [{"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}], "kilometers": [{"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "broadcasting": [{"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "Easy": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "initially": [{"id": "06", "sentence": "I think initially he wanted to do a tape."}], "improvised": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}], "opera": [{"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "32", "sentence": "Christine Cornwell is a composer and violinist working between NL/UK with projects involving improvisation and collaborative work often combined with visual artists, dancers, opera companies or experimental TV."}], "concrete": [{"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "02", "sentence": "The result is a combination of several media, which all coexist in a designed concrete object."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "manipulated": [{"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}], "audiences": [{"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}], "Modernity": [{"id": "27", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}], "variety": [{"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained."}], "theories": [{"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}], "Tektronix": [{"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}], "guy": [{"id": "06", "sentence": "Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts."}], "shortly": [{"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}], "Giralt": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "either": [{"id": "06", "sentence": "And that was never the question either."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}], "Like": [{"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "card": [{"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}], "artists": [{"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp-based artists to contribute to the project."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be referred to as 'post-ironic'."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "27", "sentence": "For this event, Kahn did some kind of improvisation session on the works of the three invited artists."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}, {"id": "31", "sentence": "For this we published 8\" records with artists and labels."}, {"id": "32", "sentence": "To engage with this potential, De Player and Varia asked several artists to work with the tool and use the result as a starting point for a performance."}, {"id": "32", "sentence": "Christine Cornwell is a composer and violinist working between NL/UK with projects involving improvisation and collaborative work often combined with visual artists, dancers, opera companies or experimental TV."}], "releases": [{"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}, {"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}], "There": [{"id": "06", "sentence": "There's something appealing in using a single octave as a building block."}, {"id": "06", "sentence": "There’s something appealing in the number twelve even, and there's the appeal of building instruments too."}, {"id": "06", "sentence": "Kris Delacourt: There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "There's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}, {"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "27", "sentence": "There is a little homage to GRM and Pierre Schaeffer on the record."}], "computer-derived": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "Sex": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "poster": [{"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}], "concerned": [{"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}], "Through": [{"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "25", "sentence": "Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation."}, {"id": "27", "sentence": "Through soundwaves geologists are able to map what is underground."}], "Canon": [{"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}], "Buchla": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "16", "sentence": "In the early 1960s, the composer Morton Subotnik employed engineer Don Buchla to help him create 'the music of the future'."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}], "belongs": [{"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be referred to as 'post-ironic'."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "appropriates": [{"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}], "invitation": [{"id": "06", "sentence": "He was intrigued by the invitation, but it took a long time to develop."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "11", "sentence": "The invitation was perfectly suited for a project in public space that he had in mind for 'Pushing Scores'."}], "whose": [{"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "vital": [{"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "counts": [{"id": "30", "sentence": "This not only counts for publishing but also for exploring new possibilities for artist practice in general."}], "psychological": [{"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}], "belong": [{"id": "06", "sentence": "So I don't think I belong in the conceptual art section."}], "Seminar": [{"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}], "thereafter": [{"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}], "when": [{"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}, {"id": "24", "sentence": "Johannes Kreidler is a special case when it comes to composing."}, {"id": "24", "sentence": "This makes it particularly interesting when viewed from the perspective of experimentation and unorthodox composing."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "27", "sentence": "It's absurd when you start to think about it."}, {"id": "27", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "spot": [{"id": "10", "sentence": "Her score was made on the spot with programming language; a sort of live coding."}, {"id": "29", "sentence": "On the spot, the audience could activate the UNI."}], "Christian": [{"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}], "1980": [{"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "Lewis": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "exercise": [{"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}], "graphical": [{"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}], "20": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "16", "sentence": "Derek Holzer was invited for the event 'PUSHING' on 20 Jan 2017."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Not": [{"id": "06", "sentence": "Kris Delacourt: Not really, at least not in this case."}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "opens": [{"id": "05", "sentence": "He opens up the artistic field to explore what is happening in the art world."}, {"id": "07", "sentence": "On the live oscilloscope concert Holzer states, 'The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "Joost": [{"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}], "consistently": [{"id": "24", "sentence": "By acting consistently within these structures he creates his works."}], "executive": [{"id": "12", "sentence": "He calls this chapter 'Represent' because it is the project of the executive."}], "If": [{"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to Morse code."}, {"id": "06", "sentence": "If something was interesting for a while, but didn't stay interesting, it had to go."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Kris Delacourt: If you force me to choose between those two, then drone."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "27", "sentence": "If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "If you work against it, it will kill you."}, {"id": "27", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}], "Signification": [{"id": "20", "sentence": "Signification also plays a major role in this."}], "Row": [{"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}], "held": [{"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}], "page": [{"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "engineered": [{"id": "02", "sentence": "TGC#3 is a particular kind of publishing platform engineered for sonic experiments, instruments and installations."}], "personal": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "25", "sentence": "Her archival approach and its political and personal implications are the starting point of this work."}], "should": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "PZI_XPUB": [{"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}], "timbres": [{"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}], "hearing": [{"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}], "Duncan": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "John Duncan took part in our event on 5 Oct 2018."}, {"id": "28", "sentence": "Duncan also often works with Carl Michael Hausswolff, who is an expert in EVP."}, {"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "sessions": [{"id": "06", "sentence": "Kris Delacourt: You do it in short sessions, hah."}], "2002": [{"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}], "bad": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}], "has": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "02", "sentence": "It has a Raspberry Pi sits at its core, and is programmed for several applications."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "It's an iron board and it has the same visuals as the sticker sheets."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it's own."}, {"id": "06", "sentence": "I don't feel this record has that."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it's use as a technology within her work."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages throughout its history: 1."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}, {"id": "20", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "21", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson has been part of DE PLAYER's programme with his quartet Fersteinn several times."}, {"id": "22", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "23", "sentence": "I think silence has that same relation with music."}, {"id": "23", "sentence": "Emptiness has that same relation with notation."}, {"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "24", "sentence": "His way of composing has a multimedia conceptual approach, which is mostly linked with processes in society."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "26", "sentence": "Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "27", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}, {"id": "28", "sentence": "Since the beginning of his practice, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "29", "sentence": "Varia has developed a context and technical environment as a web-based archival publication."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}, {"id": "32", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}], "Fighters": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "hell": [{"id": "06", "sentence": "DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "enjoyable": [{"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or perhaps you would perceive it as a failure if it weren't enjoyable without the concept?"}, {"id": "06", "sentence": "Kris Delacourt: I certainly do hope that it's enjoyable."}], "memory": [{"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}, {"id": "10", "sentence": "Vuksic considers the time and space of computer processing and memory as levels of reality."}, {"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}], "e-flux": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "creating": [{"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "discourse": [{"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}], "LP": [{"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}, {"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "DE PLAYER: The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}], "Milan": [{"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}], "Burn": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "incredible": [{"id": "27", "sentence": "It is a vast scar in the landscape, and really an incredible place."}], "LED": [{"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}], "synthesizer": [{"id": "04", "sentence": "For this event he will work with a film projection and a synthesizer, which he influences with his brainwaves."}, {"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}], "philosophy": [{"id": "24", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}], "ranges": [{"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}], "dated": [{"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "reader": [{"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}], "psycho": [{"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}], "Mar": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}], "keynote": [{"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "Composition": [{"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}], "universal": [{"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}], "that": [{"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Some dare to say that it’s a kind of jukebox."}, {"id": "02", "sentence": "We proposed to the students that they devise an issue of our publication Tetra Gamma Circulaire."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "05", "sentence": "The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "05", "sentence": "It is a complex work that nevertheless manages to remain simple and accessible in its final execution."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "At least, that's where the initial form and the name came from."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": ", that I went in that direction."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "Shit like that, really great stuff."}, {"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "I followed that score for eight hours straight."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "So that's what happened."}, {"id": "06", "sentence": "Kris Delacourt: Oh, I think it's definitely something that's still evolving."}, {"id": "06", "sentence": "Why was that?"}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB Records."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "How do you do that?"}, {"id": "06", "sentence": "Sometimes I preferred elements because of harmonic information, notes that work well together, sometimes because of rhythms that worked well, etc."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "Kris Delacourt: There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "And I follow that."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Does it feel like that for you too: As your first 'real' album, as a statement?"}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "06", "sentence": "I don't feel this record has that."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "Kris Delacourt: I certainly do hope that it's enjoyable."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "With 'Resonanz', Telcosystems presents an electronic book that combines a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "Resonanz' is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "Julia's solo live performances primarily refer to the modified vinyl records that produce extraordinary sounds."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpart to his own musical input."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}, {"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "11", "sentence": "The invitation was perfectly suited for a project in public space that he had in mind for 'Pushing Scores'."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages throughout its history: 1."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "For this he developed specific software that generates poetry in spoken-word form."}, {"id": "19", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "20", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}, {"id": "21", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "Instead of using traditional musical scores during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "In that way, the most irregular things can become very intelligible."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "23", "sentence": "I think silence has that same relation with music."}, {"id": "23", "sentence": "Emptiness has that same relation with notation."}, {"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "What is the relationship between the sounds of mining and the community that surrounds them?"}, {"id": "27", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope."}, {"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}, {"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "27", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "27", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "27", "sentence": "It just turned out that way, perhaps because that's how we generally tend to structure material."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "27", "sentence": "We have a tunnel that leads there."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "27", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "It's good for the human psyche to be reminded of that."}, {"id": "27", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "27", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "27", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "29", "sentence": "It is based in Rotterdam in the same area that we operate in."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "30", "sentence": "In that sense, there is never a perfect reproduction but always an interpretation."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}, {"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}, {"id": "32", "sentence": "Robert Kroos made a setup that enabled him to respond to a multitude of parameters."}, {"id": "32", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}], "publicly": [{"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}], "Cathode": [{"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}], "program": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "seems": [{"id": "06", "sentence": "DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job."}], "readable": [{"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}], "using": [{"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "There's something appealing in using a single octave as a building block."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "21", "sentence": "Gunnarsson's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "21", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "Instead of using traditional musical scores during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "32", "sentence": "For this special event he used be using the guzheng and electronics as instruments of choice."}], "seamlessly": [{"id": "25", "sentence": "Ana Guedes' project 'UNTITLED RECORDS' fits into our idea of finding new ways to compose very seamlessly."}], "passive": [{"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "afterwards": [{"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}], "apply": [{"id": "27", "sentence": "I apply filters, use electronics."}], "stochastic": [{"id": "29", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}], "operation": [{"id": "27", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}], "Zürich": [{"id": "10", "sentence": "VALENTINA VUKSIC (CH/NL) Valentina Vuksic is a computer artist and programmer based in Zürich."}], "signs": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "18", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "keen": [{"id": "06", "sentence": "DE PLAYER: Dennis said you were not really keen on doing this record at first."}], "Gawker": [{"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "two": [{"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "Colson made two booklets in the 'Principium' series – comprised of reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "Peter brought six record players, matching the six colours of the vinyl nicely – two notes each."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Kris Delacourt: If you force me to choose between those two, then drone."}, {"id": "07", "sentence": "To complete the event we searched for two completely different approaches to composition."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "11", "sentence": "The work consists of two parts: 1."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}, {"id": "19", "sentence": "Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}], "train": [{"id": "27", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}], "liberating": [{"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}], "discuss": [{"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}], "Timidity": [{"id": "30", "sentence": "They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "Fluxus": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}], "used": [{"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Colson made two booklets in the 'Principium' series – comprised of reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to Morse code."}, {"id": "07", "sentence": "In the case of the 'prepared record', the record or musical piece is not used as a reproductive technique."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "20", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}, {"id": "22", "sentence": "He also used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}, {"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}, {"id": "32", "sentence": "He used a guzheng as a basis and then contact microphones to manipulate the sounds with software."}, {"id": "32", "sentence": "For this special event he used be using the guzheng and electronics as instruments of choice."}], "Nam": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "Koos": [{"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job designing the packaging."}, {"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}], "Big": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "sculpture": [{"id": "07", "sentence": "— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne."}, {"id": "24", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "spodumene": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "slowly": [{"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}], "overwritable": [{"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}], "performed": [{"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology and national security."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}, {"id": "19", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "22", "sentence": "This technique of composing is performed by Guðmundur Steinn Gunnarsson and his quartet Fersteinn."}, {"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}], "theatre": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "can": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "Just so you can see them day and night, for roughly three weeks long."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "05", "sentence": "This can be a performance, an object, a book or whatever other form he settles on."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "As mentioned, this is the short version, can you give me the full story?"}, {"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "06", "sentence": "How do you perceive the function a piece of vinyl can have?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process as navigating its actualisation."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "22", "sentence": "In that way, the most irregular things can become very intelligible."}, {"id": "23", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}, {"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}, {"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "27", "sentence": "Sometimes this can go horribly wrong."}, {"id": "27", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "27", "sentence": "We can see layers of hematite."}, {"id": "27", "sentence": "You can only survive there if you work with nature."}, {"id": "27", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "27", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}, {"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "31", "sentence": "From this perspective, his live performances can also be considered as black mass implosions."}, {"id": "32", "sentence": "Niek built an interactive installation, which can be summarized as a portable music staff where the actual scores/notes were hung on like a washing line."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "Plasticism": [{"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}], "song": [{"id": "23", "sentence": "Before language there was the song."}, {"id": "23", "sentence": "Before the song there was the yodel,' As Bart Plantenga stated in his reading on yodeling."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}], "took": [{"id": "06", "sentence": "He was intrigued by the invitation, but it took a long time to develop."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}, {"id": "22", "sentence": "and took part in founding its festival Sláturtíð."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "John Duncan took part in our event on 5 Oct 2018."}], "satisfy": [{"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "print": [{"id": "05", "sentence": "The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded."}, {"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "05", "sentence": "This print run is to be seen as a performative action."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}], "Naturalis": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "your": [{"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "DE PLAYER: The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: As your first 'real' album, as a statement?"}, {"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "titles": [{"id": "30", "sentence": "The end titles of many black MIDI videos display how many notes are in the piece."}], "against": [{"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "27", "sentence": "If you work against it, it will kill you."}], "Changes": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "filling": [{"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "ore": [{"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "27", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "27", "sentence": "It's not iron ore but lignite, 'braunkohle'."}, {"id": "27", "sentence": "One is the waste you make to get to the ore."}, {"id": "27", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "27", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}], "DIY": [{"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}], "XY": [{"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}], "transmitters": [{"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}], "Samanda": [{"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}], "Owen": [{"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}], "50": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}], "Barkley": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "rang": [{"id": "06", "sentence": "It just rang as very poetic to me."}], "Arsenale": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "metals": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "copy-zine": [{"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}], "press": [{"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}], "Carlson": [{"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}], "axiomatic": [{"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}], "somehow": [{"id": "27", "sentence": "It is a process that somehow relates to my own artistic process."}], "although": [{"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it's own."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}], "drew": [{"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}], "choices": [{"id": "05", "sentence": "What emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}], "existed": [{"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "stacked": [{"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}], "faster": [{"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}], "Duo": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "hear": [{"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}, {"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "27", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}], "articulated": [{"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "31", "sentence": "A huge public announcement system was in the office blazing loud, but very articulated sound."}], "Dog": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "front": [{"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}], "former": [{"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}], "aan": [{"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "sonic": [{"id": "02", "sentence": "TGC#3 is a particular kind of publishing platform engineered for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}], "Join": [{"id": "06", "sentence": "Join the community."}], "mistakes": [{"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}], "PU": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}], "programmer": [{"id": "10", "sentence": "VALENTINA VUKSIC (CH/NL) Valentina Vuksic is a computer artist and programmer based in Zürich."}], "opposite": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}], "Lopez": [{"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}], "gave": [{"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}, {"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}], "compositional": [{"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}], "development": [{"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "21", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}], "haiku": [{"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}], "expanded": [{"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "27", "sentence": "He also expanded his archive with all related logistic processes."}], "church": [{"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}], "perceives": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}], "ideas": [{"id": "02", "sentence": "We worked around the ideas present in our 'Pushing Scores' project."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "Varia will host the evening, and explain their ideas and approach to developing the archive."}, {"id": "10", "sentence": "It was a good concert and her way of working fit into our ideas of exploring graphic scores very well."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}], "096": [{"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "Andre": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "rises": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}], "Body": [{"id": "24", "sentence": "Patrick Stump 'Curvy Cola Bottle Body' by Chico 'D.A.N.C.E."}], "languages": [{"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}], "misunderstanding": [{"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}], "light": [{"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "11", "sentence": "An interactive graphic score/light box/kinetic work fixed inside the cabinet, and 2."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}], "economic": [{"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}], "From": [{"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}, {"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}, {"id": "31", "sentence": "From this perspective, his live performances can also be considered as black mass implosions."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "things": [{"id": "06", "sentence": "Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "06", "sentence": "Art is letting things go, let it flow."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "That's just another way of letting things go, of giving up control."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "20", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "22", "sentence": "In that way, the most irregular things can become very intelligible."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}], "PDF": [{"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}], "Specifically": [{"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "Alex": [{"id": "24", "sentence": "Shena 'Dark Road' by Annie Lennox 'Delivery' by Babyshambles 'Desecration Smile' by Red Hot Chili Peppers 'Destination Calabria' by Alex Gaudino feat."}], "monumental": [{"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "straight": [{"id": "06", "sentence": "I followed that score for eight hours straight."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "22", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}], "propositions": [{"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "AEX": [{"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}], "acclaim": [{"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "complete": [{"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "06", "sentence": "The final installation will have twelve separate pieces: A complete octave."}, {"id": "06", "sentence": "Together, all twelve records form the complete set, which one 'game' requires."}, {"id": "07", "sentence": "To complete the event we searched for two completely different approaches to composition."}], "Kuzbass": [{"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "period": [{"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "11", "sentence": "The work was installed for a period at The Small Museum – a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}], "Half": [{"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}], "amplitude": [{"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}], "Burning": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "via": [{"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called 'telephone adapters'."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "platter": [{"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}], "happy": [{"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}], "brainwaves": [{"id": "04", "sentence": "For this event he will work with a film projection and a synthesizer, which he influences with his brainwaves."}, {"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}], "Albert-Ludwigs-Universität": [{"id": "24", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}], "Brookhaven": [{"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}], "buildings": [{"id": "27", "sentence": "Both in active mines and in the abandoned mines and buildings surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "so-called": [{"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called 'telephone adapters'."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "21", "sentence": "Fersteinn works with the method of so-called 'animation'."}], "doubting": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}], "Star": [{"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "Norway": [{"id": "27", "sentence": "The north of Norway is one of the oldest rock formations in the world."}], "new-media": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "mi": [{"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}], "session": [{"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp-based artists to contribute to the project."}, {"id": "27", "sentence": "For this event, Kahn did some kind of improvisation session on the works of the three invited artists."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}], "listened": [{"id": "06", "sentence": "Were there people who actually listened to the whole eight-hour performance?"}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}], "killed": [{"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}], "boundaries": [{"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}], "influences": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}, {"id": "04", "sentence": "For this event he will work with a film projection and a synthesizer, which he influences with his brainwaves."}], "house": [{"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "27", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "outside": [{"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}], "died": [{"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}], "Germanium": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Affair": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "informed": [{"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}], "step": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "Principium 2.0' is then another piece in step with the principle of Colson's original 'Principium'."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "32", "sentence": "Christine Cornwell one dot = one degree / one step / one word spoken This piece explores different layers of interpretation taken from the starting point of any archive-text-score."}], "Adagio": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "section": [{"id": "06", "sentence": "So I don't think I belong in the conceptual art section."}], "Strips": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "shy": [{"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}], "Repeating": [{"id": "12", "sentence": "Repeating, 4."}, {"id": "12", "sentence": "Post-Repeating."}], "Gordon": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "elusive": [{"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}], "Studies": [{"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "harmonies": [{"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}], "Starting": [{"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}], "use": [{"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "Interestingly, he thought his resulting collages would be nice to use as scores – and they probably would have been."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "07", "sentence": "All had worked with the medium of the vinyl record and added a new use/application."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it's use as a technology within her work."}, {"id": "11", "sentence": "In the eleventh century, Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "27", "sentence": "I apply filters, use electronics."}, {"id": "28", "sentence": "Since the beginning of his practice, he has made extensive use of recorded sound."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "32", "sentence": "To engage with this potential, De Player and Varia asked several artists to work with the tool and use the result as a starting point for a performance."}], "thinks": [{"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}], "Markus": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "Mary": [{"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}], "BY": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}], "shifted": [{"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}], "believe": [{"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}], "force": [{"id": "06", "sentence": "Kris Delacourt: If you force me to choose between those two, then drone."}], "exclusive": [{"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}], "Sand": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "iron": [{"id": "06", "sentence": "It's an iron board and it has the same visuals as the sticker sheets."}, {"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "27", "sentence": "It's not iron ore but lignite, 'braunkohle'."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "27", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}], "Timisoara": [{"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "able": [{"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "27", "sentence": "Through soundwaves geologists are able to map what is underground."}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}], "cleaning": [{"id": "27", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}], "2010": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "Melanie": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "7": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "regular": [{"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "stick": [{"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}], "path": [{"id": "27", "sentence": "The composition follows a more or less linear path, starting with 'deep' time."}, {"id": "27", "sentence": "The composition follows a more or less linear path – starting with deep time."}], "publications": [{"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "Yet": [{"id": "06", "sentence": "Yet I felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "13", "sentence": "Yet these alternate approaches brought us together and made 'Pushing Scores' real."}], "acousmatic": [{"id": "27", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}], "An": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "11", "sentence": "An interactive graphic score/light box/kinetic work fixed inside the cabinet, and 2."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}], "do": [{"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "How do you do that?"}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "Kris Delacourt: You do it in short sessions, hah."}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "How do you perceive the function a piece of vinyl can have?"}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "Kris Delacourt: I do look at it as a solo thing."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "Kris Delacourt: I certainly do hope that it's enjoyable."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}], "largest": [{"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}], "BENNETT": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "JUSTIN BENNETT (UK) Justin Bennett is an artist working with sound and visual media."}], "tactics": [{"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}], "splicing": [{"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}], "raster": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}], "player": [{"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "styles": [{"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "types": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "Different types of stone give different frequency readings."}], "His": [{"id": "01", "sentence": "His best ones."}, {"id": "04", "sentence": "His websites attract a large audience of over forty million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "His studio work focuses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "13", "sentence": "His studio focuses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "24", "sentence": "His work is described as conceptual music."}, {"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "24", "sentence": "His way of composing has a multimedia conceptual approach, which is mostly linked with processes in society."}, {"id": "27", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}, {"id": "28", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "His presentation was a crossover between a lecture and a demonstration."}, {"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "liked": [{"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}], "laserbeam": [{"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}], "sped": [{"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}], "relates": [{"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "27", "sentence": "It is a process that somehow relates to my own artistic process."}], "inclinations": [{"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}], "contemporary": [{"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "20", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "30", "sentence": "This one is a pretty contemporary example and results in great imagery and sound."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "32", "sentence": "The project investigated the state of the arts of composing scores in a contemporary environment and spanned over 2-3 years."}], "intact": [{"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}], "vibrations": [{"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "algorithmic": [{"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}], "resources": [{"id": "27", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "27", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}], "fabulation": [{"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}], "sampling": [{"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}], "text-compositions": [{"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}], "originates": [{"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}], "wall": [{"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "Throughout": [{"id": "01", "sentence": "Throughout 2016, 2017 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "27", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}], "Lieven": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}], "justify": [{"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "32", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}], "his": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Every aspect of his work deals with the quality of sound."}, {"id": "04", "sentence": "RAFAËL ROZENDAAL (NL) Rafaël Rozendaal is a visual artist who uses the Internet as his canvas."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}, {"id": "04", "sentence": "For this event he will work with a film projection and a synthesizer, which he influences with his brainwaves."}, {"id": "04", "sentence": "At every level of detail, the everyday sound of our urban surroundings is the focus of his work."}, {"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}, {"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}, {"id": "06", "sentence": "Interestingly, he thought his resulting collages would be nice to use as scores – and they probably would have been."}, {"id": "06", "sentence": "This is an interview with Kris Delacourt (Remörk) on his practice and the 'Principium' story."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "06", "sentence": "But Vaast, for instance, refuses to regard it as his doing."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpart to his own musical input."}, {"id": "13", "sentence": "Remco van Bladel grew up in the record store of his father."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "It was an investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "19", "sentence": "For example, his work 'frakativ' is an electronic visual sound poetry performance."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}, {"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "21", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "22", "sentence": "This technique of composing is performed by Guðmundur Steinn Gunnarsson and his quartet Fersteinn."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson has been part of DE PLAYER's programme with his quartet Fersteinn several times."}, {"id": "22", "sentence": "This Icelandic quartet plays with little analogue instruments and animation scores Gunnarsson made on his computer."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}, {"id": "22", "sentence": "He runs his own multi-instrumentalist quartet called Fersteinn."}, {"id": "23", "sentence": "Before the song there was the yodel,' As Bart Plantenga stated in his reading on yodeling."}, {"id": "24", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}, {"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}, {"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}, {"id": "24", "sentence": "Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "27", "sentence": "He also expanded his archive with all related logistic processes."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "Benny Nilsen approached us with his project 'ORE'."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}, {"id": "28", "sentence": "Since the beginning of his practice, he has made extensive use of recorded sound."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "28", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "31", "sentence": "From this perspective, his live performances can also be considered as black mass implosions."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}], "change": [{"id": "05", "sentence": "Colson's works examine core questions: What power does art have to change us and our society?"}, {"id": "05", "sentence": "What emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}], "combines": [{"id": "07", "sentence": "With 'Resonanz', Telcosystems presents an electronic book that combines a series of visual artworks and a sound publication."}, {"id": "21", "sentence": "Gunnarsson's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}, {"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "wherein": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}], "net": [{"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}], "devices": [{"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "two-in-one": [{"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}], "enthusiastic": [{"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}], "making": [{"id": "02", "sentence": "Each student had to develop their own project around the process of making a score."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Yet I felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "14", "sentence": "It completely complimented our thinking around how to imagine the concept of composing and making scores."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "32", "sentence": "The material is embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "screamed": [{"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}], "yourself": [{"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}], "settles": [{"id": "05", "sentence": "This can be a performance, an object, a book or whatever other form he settles on."}], "inhabits": [{"id": "22", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}], "LAFMS": [{"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}], "limited": [{"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "19", "sentence": "For 'Pushing Scores', we invited him to make special work for a limited edition."}, {"id": "22", "sentence": "We also produced a limited polyurethane record with Fersteinn."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}], "Bet": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "populated": [{"id": "27", "sentence": "The landscape is fairly untouched, it is scarcely populated, it's desolate."}], "MA": [{"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}], "makes": [{"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "24", "sentence": "This makes it particularly interesting when viewed from the perspective of experimentation and unorthodox composing."}, {"id": "26", "sentence": "She presented her project entitled 'Arachnes Sonifier', in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}], "fiercely": [{"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}], "Status": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Antwerp": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp-based artists to contribute to the project."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be referred to as 'post-ironic'."}, {"id": "06", "sentence": "It was presented at Stadslimiet, Antwerp, as an installation piece on 2 Jul 2015."}, {"id": "06", "sentence": "The interview was conducted after he exhibited 'Principium 2.0' in an installation setting at Stadslimiet, Antwerp."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}], "Scores": [{"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "02", "sentence": "We worked around the ideas present in our 'Pushing Scores' project."}, {"id": "04", "sentence": "These books were the starting point for curating the event, which subsequently sat within our 'Pushing Scores' project."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "11", "sentence": "The invitation was perfectly suited for a project in public space that he had in mind for 'Pushing Scores'."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}, {"id": "13", "sentence": "The entire 'Pushing Scores' project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "Yet these alternate approaches brought us together and made 'Pushing Scores' real."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "The 'Event Scores' of George Brecht are still actual pieces."}, {"id": "19", "sentence": "For 'Pushing Scores', we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "22", "sentence": "The idea of 'anitation' and the work of Guðmundur Steinn Gunnarsson fits perfectly within 'Pushing Scores'."}, {"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}, {"id": "29", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}, {"id": "32", "sentence": "Pushing Scores website launch and performance evening At the end of 2018, De Player approached Varia to develop a web-publication for their Pushing Scores project archive, which resulted in the current website."}, {"id": "32", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}], "PRESENTS": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}], "unexpected": [{"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "32", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}], "industries": [{"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}], "gallium": [{"id": "27", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics."}], "Ultra": [{"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "DE PLAYER: The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}], "fall": [{"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}], "discussed": [{"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}], "conceptually": [{"id": "06", "sentence": "The improvisation might be one of the major flaws, actually, conceptually speaking."}], "park": [{"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}], "Peppers": [{"id": "24", "sentence": "Shena 'Dark Road' by Annie Lennox 'Delivery' by Babyshambles 'Desecration Smile' by Red Hot Chili Peppers 'Destination Calabria' by Alex Gaudino feat."}], "beats": [{"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}], "member": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}], "Backfire": [{"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}], "handle": [{"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}], "programmed": [{"id": "02", "sentence": "It has a Raspberry Pi sits at its core, and is programmed for several applications."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}], "keeps": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}], "clocking": [{"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "Within": [{"id": "04", "sentence": "Within it, he develops the reciprocity of music and architecture, and of sound and image."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}], "internal": [{"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "05", "sentence": "The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded."}], "lure": [{"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}], "eyes": [{"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "species": [{"id": "26", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}], "Life": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "commonly": [{"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}], "leftover": [{"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}], "ethos": [{"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "Blood": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "acoustic": [{"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}], "instruments": [{"id": "02", "sentence": "TGC#3 is a particular kind of publishing platform engineered for sonic experiments, instruments and installations."}, {"id": "06", "sentence": "There’s something appealing in the number twelve even, and there's the appeal of building instruments too."}, {"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "22", "sentence": "This Icelandic quartet plays with little analogue instruments and animation scores Gunnarsson made on his computer."}, {"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "32", "sentence": "For this special event he used be using the guzheng and electronics as instruments of choice."}], "management": [{"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "increasingly": [{"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}], "family": [{"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}], "60s": [{"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}], "closed": [{"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "27", "sentence": "It created a vacuum after it closed."}], "visited": [{"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}, {"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "27", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}], "artworks": [{"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}, {"id": "06", "sentence": "Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "07", "sentence": "TELCOSYSTEMS (NL) Telcosystems presents 'Resonanz', an electronic book combining a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "With 'Resonanz', Telcosystems presents an electronic book that combines a series of visual artworks and a sound publication."}], "refuses": [{"id": "06", "sentence": "But Vaast, for instance, refuses to regard it as his doing."}], "returned": [{"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}], "included": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "mannerisms": [{"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}], "Gun": [{"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}], "authors": [{"id": "26", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}], "dub-cut": [{"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}], "Of": [{"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "27", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}], "pictures": [{"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}], "kitsch": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "social": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}], "through": [{"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "05", "sentence": "The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "Kris Delacourt: There were some people there that sat through the whole thing, yes."}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "Transmitted through a beamer and an audio system, everything becomes visible and audible."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages throughout its history: 1."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "15", "sentence": "Holzer often works through a long, rigorous process of self-education in electronics."}, {"id": "19", "sentence": "Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Cultural identity is therefore communicated through this."}, {"id": "20", "sentence": "Subcultures form through music."}, {"id": "24", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}, {"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "27", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "31", "sentence": "We got in touch with Marco Fusinato through our '8-INCH' series."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}, {"id": "32", "sentence": "The individual lines of the staffs were movable by means of 5 handles which were amplified through contact mics."}, {"id": "32", "sentence": "It invited anyone to follow simple instructions to create a spatial representation of different people's individual navigations through the archive."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "for": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "Just so you can see them day and night, for roughly three weeks long."}, {"id": "01", "sentence": "The 'E-ARTHHA' event is about the search for new interfaces and possibilities for sound composition, image and performance."}, {"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC#3 is a particular kind of publishing platform engineered for sonic experiments, instruments and installations."}, {"id": "02", "sentence": "This is a magazine without any format, with the intention for a new one to be developed each time."}, {"id": "02", "sentence": "It has a Raspberry Pi sits at its core, and is programmed for several applications."}, {"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "04", "sentence": "These books were the starting point for curating the event, which subsequently sat within our 'Pushing Scores' project."}, {"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}, {"id": "05", "sentence": "We have known Vaast Colson to be an interesting artist for quite some time already."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "The commercial potential and its associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for tens minutes and the B note is something like five minutes and twenty seconds."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "And since I'm a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "I followed that score for eight hours straight."}, {"id": "06", "sentence": "If something was interesting for a while, but didn't stay interesting, it had to go."}, {"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "I could have gone for something more 'correct' in terms of concept – I don't know, pure sine waves or something."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "But Vaast, for instance, refuses to regard it as his doing."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "Does it feel like that for you too: As your first 'real' album, as a statement?"}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "I guess I am aiming for the best of both worlds there."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "On this evening, 'Resonanz' will be the starting point for a Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "07", "sentence": "To complete the event we searched for two completely different approaches to composition."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "08", "sentence": "We decided to envision the framework for the installation as a three-dimensional staff to write down music."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it's use as a technology within her work."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called 'telephone adapters'."}, {"id": "10", "sentence": "By writing choreographies for software and computer elements, she utilises these technologies as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Software being processed creates its own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "11", "sentence": "The invitation was perfectly suited for a project in public space that he had in mind for 'Pushing Scores'."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "11", "sentence": "The work was installed for a period at The Small Museum – a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "He sees it as punk, experimental, noise, investigative and critical, searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "16", "sentence": "Derek Holzer was invited for the event 'PUSHING' on 20 Jan 2017."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "He is inspiring for a lot of performance-based composers."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "19", "sentence": "For 'Pushing Scores', we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "In a multicultural situation, abstract sounds are forms of recognition; then there is, for example, music."}, {"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}, {"id": "22", "sentence": "Anitation' is the term for animated notation."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}, {"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "26", "sentence": "The sonification of spider webs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}, {"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "27", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "27", "sentence": "It is important for companies to manage this."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "27", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "27", "sentence": "It's good for the human psyche to be reminded of that."}, {"id": "27", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them ."}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}, {"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}, {"id": "30", "sentence": "This not only counts for publishing but also for exploring new possibilities for artist practice in general."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "Spectral Arrows' is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}, {"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "32", "sentence": "Pushing Scores website launch and performance evening At the end of 2018, De Player approached Varia to develop a web-publication for their Pushing Scores project archive, which resulted in the current website."}, {"id": "32", "sentence": "The material is embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "32", "sentence": "To engage with this potential, De Player and Varia asked several artists to work with the tool and use the result as a starting point for a performance."}, {"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}], "ruled": [{"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}], "attendants": [{"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "influential": [{"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "27", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}], "De": [{"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}, {"id": "32", "sentence": "Pushing Scores website launch and performance evening At the end of 2018, De Player approached Varia to develop a web-publication for their Pushing Scores project archive, which resulted in the current website."}, {"id": "32", "sentence": "Varia contributed by developing an archival web publication where the vernacular vocabulary of De Player creates the possibilities of text-based navigation across the collection of items."}, {"id": "32", "sentence": "To engage with this potential, De Player and Varia asked several artists to work with the tool and use the result as a starting point for a performance."}], "transitioned": [{"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}], "operating": [{"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}], "joint": [{"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}], "Guetta": [{"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}], "progression": [{"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}], "want": [{"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}], "Bute": [{"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}], "May": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}], "Orm": [{"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}], "05": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "totally": [{"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}], "directly": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "24", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}, {"id": "27", "sentence": "It doesn't relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}], "argument": [{"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}], "real": [{"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}, {"id": "06", "sentence": "Does it feel like that for you too: As your first 'real' album, as a statement?"}, {"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "13", "sentence": "Yet these alternate approaches brought us together and made 'Pushing Scores' real."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "19", "sentence": "The performance 'frikativ' is real-time generated visual and sound poetry."}], "perspective": [{"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}, {"id": "24", "sentence": "This makes it particularly interesting when viewed from the perspective of experimentation and unorthodox composing."}, {"id": "31", "sentence": "From this perspective, his live performances can also be considered as black mass implosions."}], "reproductive": [{"id": "07", "sentence": "In the case of the 'prepared record', the record or musical piece is not used as a reproductive technique."}], "The": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "The work is voiced by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "The 'E-ARTHHA' event is about the search for new interfaces and possibilities for sound composition, image and performance."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "02", "sentence": "One restriction was decided upon: The scores had to be presented on floppy disc."}, {"id": "02", "sentence": "The result is a combination of several media, which all coexist in a designed concrete object."}, {"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "05", "sentence": "The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded."}, {"id": "05", "sentence": "The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "The commercial potential and its associated value assessment are problematic for Colson."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "The final installation will have twelve separate pieces: A complete octave."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "The office material, those colourful little dots."}, {"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "The interview was conducted after he exhibited 'Principium 2.0' in an installation setting at Stadslimiet, Antwerp."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, which determines the rhythm."}, {"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "The improvisation might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "Kris Delacourt: The 10\" records have all been sold as well, so they sit somewhere in the middle."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "DE PLAYER: The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "07", "sentence": "On the live oscilloscope concert Holzer states, 'The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The usual code of the record, as defined by the music industry, was broken in all works."}, {"id": "08", "sentence": "The initiatives gather within a part of the programme called 'Intersections'."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the working process."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}, {"id": "10", "sentence": "The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The work consists of two parts: 1."}, {"id": "11", "sentence": "The piece is voiced by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "The invitation was perfectly suited for a project in public space that he had in mind for 'Pushing Scores'."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "11", "sentence": "The work was installed for a period at The Small Museum – a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "13", "sentence": "The entire 'Pushing Scores' project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology and national security."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "17", "sentence": "The 'Event Scores' of George Brecht are still actual pieces."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "19", "sentence": "The performance 'frikativ' is real-time generated visual and sound poetry."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "20", "sentence": "The style and/or genre determine the identity."}, {"id": "20", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "20", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}, {"id": "22", "sentence": "The idea of 'anitation' and the work of Guðmundur Steinn Gunnarsson fits perfectly within 'Pushing Scores'."}, {"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "The system was therefore completely stuck."}, {"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Timbaland 'Another One Bites The Dust' by Queen vs."}, {"id": "24", "sentence": "The Miami Project 'Anthem' by Filo & Peri feat."}, {"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}, {"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}, {"id": "24", "sentence": "Sandy 'Baby Fratelli' by The Fratellis 'Baby Love' by Nicole Scherzinger Feat."}, {"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}, {"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}, {"id": "24", "sentence": "The Ping Pong Song)' by Enrique Iglesias 'Doing It Right' by The Go!"}, {"id": "24", "sentence": "Team 'Don't' by Elvis Presley With The Jordanaires 'Don't Dance' by Midas 'Don't Give It Up' by Siobhan Donaghy"}, {"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}, {"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "26", "sentence": "The sonification of spider webs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}, {"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "26", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}, {"id": "27", "sentence": "The composition follows a more or less linear path, starting with 'deep' time."}, {"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}, {"id": "27", "sentence": "The musique concrète, as developed by Henry at GRM, was made by magnetic tape."}, {"id": "27", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "27", "sentence": "The mountain just sits there."}, {"id": "27", "sentence": "The sounds are environmental."}, {"id": "27", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "27", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "27", "sentence": "The composition follows a more or less linear path – starting with deep time."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "27", "sentence": "The sound of the mine was always present."}, {"id": "27", "sentence": "The landscape is fairly untouched, it is scarcely populated, it's desolate."}, {"id": "27", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them ."}, {"id": "27", "sentence": "The Arctic is changing quickly."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "27", "sentence": "All to get to the desired result: The gold!"}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "28", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}, {"id": "29", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}, {"id": "30", "sentence": "The end titles of many black MIDI videos display how many notes are in the piece."}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "32", "sentence": "The project investigated the state of the arts of composing scores in a contemporary environment and spanned over 2-3 years."}, {"id": "32", "sentence": "The material is embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "32", "sentence": "The individual lines of the staffs were movable by means of 5 handles which were amplified through contact mics."}], "cliché": [{"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}], "To": [{"id": "07", "sentence": "To complete the event we searched for two completely different approaches to composition."}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}, {"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "32", "sentence": "To engage with this potential, De Player and Varia asked several artists to work with the tool and use the result as a starting point for a performance."}], "genres": [{"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}], "overlap": [{"id": "27", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}], "distils": [{"id": "26", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}], "radio": [{"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "28", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "28", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "Music": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}, {"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}, {"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}, {"id": "30", "sentence": "They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "Onomatopee": [{"id": "04", "sentence": "He is also an art book publisher (Onomatopee, Eindhoven, and WdW Review, Rotterdam)."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}], "Bergen": [{"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}], "seeking": [{"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}], "Recording": [{"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}], "south": [{"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}], "Based": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "Together": [{"id": "06", "sentence": "Together, all twelve records form the complete set, which one 'game' requires."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}], "absence": [{"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}], "drive": [{"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}], "customer": [{"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}], "LOCAL": [{"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}], "Partiro": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Venice": [{"id": "13", "sentence": "He designed the publication and identity of the 'Aalto Natives' at the Finnish Pavilion of the 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}], "conflictual": [{"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}], "Vos": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "2019": [{"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "Xerox": [{"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}], "mapped": [{"id": "27", "sentence": "When it was empty, I mapped out the building by recording it."}], "holes": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "scheelite": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Cradle": [{"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}], "striking": [{"id": "27", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "27", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}], "sydvarangergruve": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "structural": [{"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}], "particular": [{"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "02", "sentence": "TGC#3 is a particular kind of publishing platform engineered for sonic experiments, instruments and installations."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "32", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}], "utilize": [{"id": "29", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "32", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}], "Ziegler": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "repertoire": [{"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}], "jukebox": [{"id": "02", "sentence": "Some dare to say that it’s a kind of jukebox."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}], "interrogating": [{"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}], "Ensemble": [{"id": "11", "sentence": "For this multi-vocal composition, Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "22", "sentence": "He also used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "Abstract": [{"id": "06", "sentence": "Abstract poetry."}], "ephemera": [{"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}], "FLORIS": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "FLORIS VANHOOF (BE) Floris Vanhoof is a filmmaker and musician from Belgium."}], "connections": [{"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}], "emitted": [{"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}], "willing": [{"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}], "law": [{"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}], "Gamma": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "02", "sentence": "We proposed to the students that they devise an issue of our publication Tetra Gamma Circulaire."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}], "As": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "06", "sentence": "As mentioned, the first version was a modified Casio keyboard."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "As mentioned, this is the short version, can you give me the full story?"}, {"id": "06", "sentence": "Does it feel like that for you too: As your first 'real' album, as a statement?"}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "As another example, Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "Before the song there was the yodel,' As Bart Plantenga stated in his reading on yodeling."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "Ross": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Japan": [{"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}], "value": [{"id": "05", "sentence": "The commercial potential and its associated value assessment are problematic for Colson."}, {"id": "20", "sentence": "It is important here that the language is sung off the usual value of speech."}], "Vincent": [{"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}], "One": [{"id": "02", "sentence": "One restriction was decided upon: The scores had to be presented on floppy disc."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "24", "sentence": "Timbaland 'Another One Bites The Dust' by Queen vs."}, {"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}, {"id": "27", "sentence": "One is the waste you make to get to the ore."}, {"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "31", "sentence": "One of Marco's most-known projects is called 'Black Mass Implosion'."}], "Alvin": [{"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "Gilmour": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}], "narrative": [{"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}], "conducted": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "06", "sentence": "The interview was conducted after he exhibited 'Principium 2.0' in an installation setting at Stadslimiet, Antwerp."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}], "travelling": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "Koopa": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "burned": [{"id": "27", "sentence": "So much time is compressed in this material and it's burned up in minutes."}, {"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}], "wrong": [{"id": "27", "sentence": "Sometimes this can go horribly wrong."}], "future": [{"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "16", "sentence": "In the early 1960s, the composer Morton Subotnik employed engineer Don Buchla to help him create 'the music of the future'."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}], "changing": [{"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}, {"id": "27", "sentence": "The Arctic is changing quickly."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}], "writing": [{"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "By writing choreographies for software and computer elements, she utilises these technologies as actors in software/noise pieces for, and in, computers."}, {"id": "11", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "12", "sentence": "At the time of writing it would have been quite prophetic."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "18", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}], "Empty": [{"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}], "grids": [{"id": "22", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}], "because": [{"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "06", "sentence": "Sometimes I preferred elements because of harmonic information, notes that work well together, sometimes because of rhythms that worked well, etc."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "12", "sentence": "It was particularly of interested to us because of the way in which he focuses on the reproduction of music."}, {"id": "12", "sentence": "He calls this chapter 'Represent' because it is the project of the executive."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "27", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "27", "sentence": "It just turned out that way, perhaps because that's how we generally tend to structure material."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "27", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "27", "sentence": "I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}], "Xenakis-esque": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "Kinnunen": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "ways": [{"id": "01", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}, {"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "04", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "20", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "25", "sentence": "Ana Guedes' project 'UNTITLED RECORDS' fits into our idea of finding new ways to compose very seamlessly."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}], "Steel": [{"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "Iannis": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "joined": [{"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}], "currently": [{"id": "28", "sentence": "He is currently a sound designer at the Art Academy of Bologna, Italy."}, {"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}], "collective": [{"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "She is part of the sound art collective Sculptress of Sound."}, {"id": "22", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "scholarly": [{"id": "27", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}], "forced": [{"id": "27", "sentence": "Were they forced up North by circumstances?"}], "relevant": [{"id": "06", "sentence": "But it's still a relevant idea to me, this kind of creative misuse."}], "avoid": [{"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}], "sylvite": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "lectures": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}], "Hoof": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}], "Matt": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "billions": [{"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}], "Circulaire": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "02", "sentence": "We proposed to the students that they devise an issue of our publication Tetra Gamma Circulaire."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}], "Earthquake": [{"id": "27", "sentence": "Mining' by BJ Nilsen, 'Jazz' by Max Franklin and 'Earthquake' by Aurelie Lierman."}], "NIEK": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}], "index": [{"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}], "fragility": [{"id": "27", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope."}], "piano": [{"id": "09", "sentence": "JOHANNES BERGMARK (SE) Johannes Bergmark is a Fylkingen-affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "Sculptress": [{"id": "07", "sentence": "She is part of the sound art collective Sculptress of Sound."}], "MAMPlayer": [{"id": "30", "sentence": "They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "active": [{"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "22", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "27", "sentence": "Both in active mines and in the abandoned mines and buildings surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}, {"id": "32", "sentence": "The material is embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "counsellor": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}], "Tom": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "multi-instrumentalist": [{"id": "22", "sentence": "He runs his own multi-instrumentalist quartet called Fersteinn."}], "Sunfreakz": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "medieval": [{"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}], "places": [{"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}, {"id": "27", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}], "feat": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "The Miami Project 'Anthem' by Filo & Peri feat."}, {"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}, {"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}, {"id": "24", "sentence": "Justin Timberlake & Timbaland 'Baby Baby' by Sunblock feat."}, {"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}, {"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}, {"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}, {"id": "24", "sentence": "Shena 'Dark Road' by Annie Lennox 'Delivery' by Babyshambles 'Desecration Smile' by Red Hot Chili Peppers 'Destination Calabria' by Alex Gaudino feat."}], "turning": [{"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}], "virtuosic": [{"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}], "fifty": [{"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}, {"id": "27", "sentence": "If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste."}], "surrounds": [{"id": "27", "sentence": "What is the relationship between the sounds of mining and the community that surrounds them?"}], "Rather": [{"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}], "methodologies": [{"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "13", "sentence": "It was an investigation into methodologies within his own artistic practice."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "32", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}], "states": [{"id": "07", "sentence": "On the live oscilloscope concert Holzer states, 'The Vectorian Era opens with a screaming across the sky."}], "uploaded": [{"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}, {"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "Data": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "lathe": [{"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}], "Foals": [{"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}], "refined": [{"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}], "REMCO": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}], "yield": [{"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}], "Nathan": [{"id": "24", "sentence": "by Band Aid 'Do Without My Love' by Nathan [UK] 'Do You Know?"}], "Could": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "region": [{"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}], "Aika": [{"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "glad": [{"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}], "individually": [{"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}], "speculatively": [{"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}], "real-time": [{"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}, {"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "19", "sentence": "The performance 'frikativ' is real-time generated visual and sound poetry."}], "intimate": [{"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}], "lecturer": [{"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}], "favor": [{"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}], "eliminate": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "reuse": [{"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}], "Jovi": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "crystals": [{"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}], "tool": [{"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "It really was a one-time event, with the vinyls functioning as a tool, yes."}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpart to his own musical input."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "32", "sentence": "To engage with this potential, De Player and Varia asked several artists to work with the tool and use the result as a starting point for a performance."}], "building": [{"id": "06", "sentence": "There's something appealing in using a single octave as a building block."}, {"id": "06", "sentence": "There’s something appealing in the number twelve even, and there's the appeal of building instruments too."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}, {"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}], "between": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "04", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "It’s not a matter of an event between spectators and a musician– it’s a space to submit to a process."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "Kris Delacourt: If you force me to choose between those two, then drone."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "What is the relationship between the sounds of mining and the community that surrounds them?"}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "29", "sentence": "His presentation was a crossover between a lecture and a demonstration."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}, {"id": "32", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "32", "sentence": "Christine Cornwell is a composer and violinist working between NL/UK with projects involving improvisation and collaborative work often combined with visual artists, dancers, opera companies or experimental TV."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "UNI": [{"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}, {"id": "29", "sentence": "On the spot, the audience could activate the UNI."}], "Methi": [{"id": "27", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}], "Sacrificing": [{"id": "12", "sentence": "Sacrificing, 2."}], "30": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "This was part of a test production of around 30,000 tons."}], "Strings": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "hardiest": [{"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}], "border": [{"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}], "PARA-PHONIC": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}], "continents": [{"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}], "say": [{"id": "02", "sentence": "Some dare to say that it’s a kind of jukebox."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}], "Peake": [{"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "Poly-diso": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}], "transform": [{"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}], "established": [{"id": "11", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "18", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}], "wants": [{"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}], "intention": [{"id": "02", "sentence": "This is a magazine without any format, with the intention for a new one to be developed each time."}, {"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}], "night": [{"id": "01", "sentence": "Just so you can see them day and night, for roughly three weeks long."}, {"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}], "inspirations": [{"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}], "fraction": [{"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}], "Off": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "short-lived": [{"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}], "document": [{"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "strings": [{"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}], "Patrick": [{"id": "24", "sentence": "Patrick Stump 'Curvy Cola Bottle Body' by Chico 'D.A.N.C.E."}], "Founding": [{"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "disturber": [{"id": "26", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}], "In": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "In this way you would end up with all different records, each one an original."}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "In the case of the 'prepared record', the record or musical piece is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "In the eleventh century, Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}, {"id": "16", "sentence": "In the early 1960s, the composer Morton Subotnik employed engineer Don Buchla to help him create 'the music of the future'."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "20", "sentence": "In a multicultural situation, abstract sounds are forms of recognition; then there is, for example, music."}, {"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}, {"id": "22", "sentence": "In that way, the most irregular things can become very intelligible."}, {"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}, {"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope."}, {"id": "27", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "27", "sentence": "In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it ."}, {"id": "27", "sentence": "In practice it's quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "30", "sentence": "In that sense, there is never a perfect reproduction but always an interpretation."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "32", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}], "Úlfar": [{"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "based": [{"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp-based artists to contribute to the project."}, {"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "07", "sentence": "— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "10", "sentence": "VALENTINA VUKSIC (CH/NL) Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer based in Amsterdam."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "17", "sentence": "He is inspiring for a lot of performance-based composers."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "29", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}, {"id": "29", "sentence": "It is based in Rotterdam in the same area that we operate in."}, {"id": "29", "sentence": "Varia has developed a context and technical environment as a web-based archival publication."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "32", "sentence": "Varia contributed by developing an archival web publication where the vernacular vocabulary of De Player creates the possibilities of text-based navigation across the collection of items."}, {"id": "32", "sentence": "Navigating within the data structure of the archive becomes an act of score notation, and is thus based on subjective association and drifting."}, {"id": "32", "sentence": "Robert Kroos (aka Duckfood) is a Rotterdam based musician, sound-artist and DJ working on all kinds of sound- and music related projects."}, {"id": "32", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}], "lautpoesie": [{"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}], "clue": [{"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}], "og": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "blurring": [{"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}], "American": [{"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "cubic": [{"id": "24", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}], "make": [{"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}, {"id": "19", "sentence": "For 'Pushing Scores', we invited him to make special work for a limited edition."}, {"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "26", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "One is the waste you make to get to the ore."}, {"id": "27", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "30", "sentence": "People who make black MIDIs are known as 'blackers'."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "put": [{"id": "02", "sentence": "This was put in place to both limit possibilities and to unite the format."}, {"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, which determines the rhythm."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}], "International": [{"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "505": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Beggin": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "represented": [{"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "32", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}], "leads": [{"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "We have a tunnel that leads there."}], "Stephen": [{"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}], "tenth": [{"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}], "join": [{"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}], "why": [{"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}, {"id": "27", "sentence": "That's why I wanted to have a thread about the regeneration of mining areas."}, {"id": "27", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}], "support": [{"id": "26", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}], "Yuki": [{"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}], "chemist": [{"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}], "Koninklijk": [{"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}], "nonsense": [{"id": "20", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}], "laut": [{"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}], "film": [{"id": "04", "sentence": "For this event he will work with a film projection and a synthesizer, which he influences with his brainwaves."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}], "Baxter": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "thirteenth": [{"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}], "curated": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}], "actualisation": [{"id": "06", "sentence": "Coming up with a concept can be as much a creative process as navigating its actualisation."}], "popularity": [{"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}], "quantums": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "drawn": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "27", "sentence": "I am drawn to the Arctic as a sound person because of its relative remoteness."}], "wizardry": [{"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}], "Connor": [{"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "Presentation": [{"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}], "trains": [{"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "reverence": [{"id": "09", "sentence": "Jakobson has great reverence for intuition and it's use as a technology within her work."}, {"id": "26", "sentence": "The sonification of spider webs asserts a reverence for the environment, the beauty of the ephemeral and loss."}], "subject": [{"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}, {"id": "27", "sentence": "Over the years he has built up an extensive sound archive around this subject."}], "all": [{"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}, {"id": "02", "sentence": "The result is a combination of several media, which all coexist in a designed concrete object."}, {"id": "06", "sentence": "Together, all twelve records form the complete set, which one 'game' requires."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "In this way you would end up with all different records, each one an original."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it's own."}, {"id": "06", "sentence": "Kris Delacourt: The 10\" records have all been sold as well, so they sit somewhere in the middle."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "07", "sentence": "The usual code of the record, as defined by the music industry, was broken in all works."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "27", "sentence": "He also expanded his archive with all related logistic processes."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}, {"id": "32", "sentence": "Robert Kroos (aka Duckfood) is a Rotterdam based musician, sound-artist and DJ working on all kinds of sound- and music related projects."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "reproductions": [{"id": "06", "sentence": "Colson made two booklets in the 'Principium' series – comprised of reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}], "towards": [{"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "Barbie": [{"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}], "deal": [{"id": "04", "sentence": "These works deal with continuity and endless accessibility."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}], "underground": [{"id": "27", "sentence": "Listening underground is like reading the environment."}, {"id": "27", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "27", "sentence": "Through soundwaves geologists are able to map what is underground."}], "acquainted": [{"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}], "Hiele": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}], "Nixon": [{"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}], "creativity": [{"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}], "coin": [{"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}], "JUBILEE": [{"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART x JUBILEE event in 2017."}], "necessary": [{"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}], "demonstrate": [{"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}], "allows": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}], "multiple": [{"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}], "2013": [{"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "code": [{"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to Morse code."}, {"id": "07", "sentence": "The usual code of the record, as defined by the music industry, was broken in all works."}], "Thus": [{"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}], "devise": [{"id": "02", "sentence": "We proposed to the students that they devise an issue of our publication Tetra Gamma Circulaire."}], "Sunshine": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Shayne": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "statistics": [{"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}], "arguably": [{"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}], "numerical": [{"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}], "techniques": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}], "choral": [{"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}], "town": [{"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}], "ongoingness": [{"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}], "lens": [{"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}], "Does": [{"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "Does it feel like that for you too: As your first 'real' album, as a statement?"}], "usual": [{"id": "07", "sentence": "The usual code of the record, as defined by the music industry, was broken in all works."}, {"id": "20", "sentence": "It is important here that the language is sung off the usual value of speech."}], "45": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "City": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "intensity": [{"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "expectation": [{"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}], "usgs": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "gaffs": [{"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}], "bouncing": [{"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}], "Laboratories": [{"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}], "notion": [{"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "Spreeuwenberg": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "relevance": [{"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}], "Anarchy": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "RAM": [{"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}], "drone": [{"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "DE PLAYER: Do you see this as a drone record?"}, {"id": "06", "sentence": "Kris Delacourt: If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "So more drone, definitely."}], "out": [{"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}, {"id": "06", "sentence": "Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "25", "sentence": "Because she uses and records the archive, the end result almost turns out to be a DJ set."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "27", "sentence": "It just turned out that way, perhaps because that's how we generally tend to structure material."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "27", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "27", "sentence": "In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it ."}, {"id": "27", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}, {"id": "31", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}], "collaborative": [{"id": "32", "sentence": "Christine Cornwell is a composer and violinist working between NL/UK with projects involving improvisation and collaborative work often combined with visual artists, dancers, opera companies or experimental TV."}, {"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}], "2008": [{"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}], "kinetic": [{"id": "11", "sentence": "An interactive graphic score/light box/kinetic work fixed inside the cabinet, and 2."}, {"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "Hearts": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Holzer": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "07", "sentence": "On the live oscilloscope concert Holzer states, 'The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}, {"id": "15", "sentence": "Holzer often works through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}, {"id": "16", "sentence": "Derek Holzer was invited for the event 'PUSHING' on 20 Jan 2017."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "founder": [{"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}], "Natives": [{"id": "13", "sentence": "He designed the publication and identity of the 'Aalto Natives' at the Finnish Pavilion of the 57th Venice Biennale."}], "machines": [{"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}], "DENOTING": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}], "tell": [{"id": "27", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}], "search": [{"id": "01", "sentence": "The 'E-ARTHHA' event is about the search for new interfaces and possibilities for sound composition, image and performance."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}], "Students": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "three": [{"id": "01", "sentence": "Just so you can see them day and night, for roughly three weeks long."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "08", "sentence": "We decided to envision the framework for the installation as a three-dimensional staff to write down music."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}, {"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}, {"id": "27", "sentence": "For this event, Kahn did some kind of improvisation session on the works of the three invited artists."}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}], "first": [{"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "02", "sentence": "‘Fred Flintstone meets the twenty-first century’, it was referred to as."}, {"id": "06", "sentence": "We first encountered 'Principium 1.0'."}, {"id": "06", "sentence": "As mentioned, the first version was a modified Casio keyboard."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "DE PLAYER: Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "Does it feel like that for you too: As your first 'real' album, as a statement?"}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "Resonanz' is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "11", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}, {"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "18", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called 'cheironmy'."}, {"id": "18", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "26", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "2017": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "01", "sentence": "Throughout 2016, 2017 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}, {"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART x JUBILEE event in 2017."}, {"id": "16", "sentence": "Derek Holzer was invited for the event 'PUSHING' on 20 Jan 2017."}, {"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}], "play": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "20", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "sensor": [{"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}], "extends": [{"id": "27", "sentence": "It doesn't relate directly to mining, but it extends the project to include geology, deep time and stone."}], "collaboration": [{"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "manual": [{"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}], "vries": [{"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}], "stream": [{"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}], "standpoint": [{"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}], "57th": [{"id": "13", "sentence": "He designed the publication and identity of the 'Aalto Natives' at the Finnish Pavilion of the 57th Venice Biennale."}], "repeatability": [{"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}], "democratic": [{"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}], "comparatively": [{"id": "13", "sentence": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}], "mostly": [{"id": "24", "sentence": "His way of composing has a multimedia conceptual approach, which is mostly linked with processes in society."}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "27", "sentence": "I had hundreds of cassette tapes, mostly TDK."}], "displayed": [{"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}], "venue": [{"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "phones": [{"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}], "sum": [{"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}], "given": [{"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "Reinhold": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "arises": [{"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "winter": [{"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}], "post-ironic": [{"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be referred to as 'post-ironic'."}], "encompasses": [{"id": "13", "sentence": "This encompasses the conceptualisation, the funding and the execution."}], "Hailing": [{"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}], "Mathias": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}], "encountering": [{"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}], "Post-Repeating": [{"id": "12", "sentence": "Post-Repeating."}], "kitchen": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "Thorez": [{"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}], "issues": [{"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}], "jumpcuts": [{"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}], "fear": [{"id": "06", "sentence": "I guess that fear was much more of an issue with DOB Records."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}], "E": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The 'E-ARTHHA' event is about the search for new interfaces and possibilities for sound composition, image and performance."}, {"id": "24", "sentence": "Patrick Stump 'Curvy Cola Bottle Body' by Chico 'D.A.N.C.E."}, {"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}], "Due": [{"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}], "proceeding": [{"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}], "Ana": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "25", "sentence": "Ana Guedes is a multidisciplinary artist from Portugal who lives and works in the Hague."}, {"id": "25", "sentence": "Ana Guedes' project 'UNTITLED RECORDS' fits into our idea of finding new ways to compose very seamlessly."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}], "different": [{"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}, {"id": "06", "sentence": "In this way you would end up with all different records, each one an original."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "To complete the event we searched for two completely different approaches to composition."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "27", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "27", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "27", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "27", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "27", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "27", "sentence": "Different types of stone give different frequency readings."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}, {"id": "32", "sentence": "Christine Cornwell one dot = one degree / one step / one word spoken This piece explores different layers of interpretation taken from the starting point of any archive-text-score."}, {"id": "32", "sentence": "It invited anyone to follow simple instructions to create a spatial representation of different people's individual navigations through the archive."}], "Feist": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "200": [{"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}], "curves": [{"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}], "hardly": [{"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}], "minus": [{"id": "26", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}], "asking": [{"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}], "Ziolkowski": [{"id": "27", "sentence": "Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34."}], "percentage": [{"id": "27", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}], "Luuk": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "help": [{"id": "16", "sentence": "In the early 1960s, the composer Morton Subotnik employed engineer Don Buchla to help him create 'the music of the future'."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}], "Blag": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "intricate": [{"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "grid": [{"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "21", "sentence": "Gunnarsson's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}], "abstract": [{"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "20", "sentence": "In a multicultural situation, abstract sounds are forms of recognition; then there is, for example, music."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "Girls": [{"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "March": [{"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}], "Underground": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "hall": [{"id": "24", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}], "manages": [{"id": "05", "sentence": "It is a complex work that nevertheless manages to remain simple and accessible in its final execution."}], "William": [{"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}], "brought": [{"id": "06", "sentence": "Peter brought six record players, matching the six colours of the vinyl nicely – two notes each."}, {"id": "13", "sentence": "Yet these alternate approaches brought us together and made 'Pushing Scores' real."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}], "chemicals": [{"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}], "event": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "The 'E-ARTHHA' event is about the search for new interfaces and possibilities for sound composition, image and performance."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "04", "sentence": "It’s not a matter of an event between spectators and a musician– it’s a space to submit to a process."}, {"id": "04", "sentence": "For this event he will work with a film projection and a synthesizer, which he influences with his brainwaves."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "04", "sentence": "These books were the starting point for curating the event, which subsequently sat within our 'Pushing Scores' project."}, {"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "It really was a one-time event, with the vinyls functioning as a tool, yes."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "For this evening event, 'Resonanz' will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "07", "sentence": "To complete the event we searched for two completely different approaches to composition."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART x JUBILEE event in 2017."}, {"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}, {"id": "16", "sentence": "Derek Holzer was invited for the event 'PUSHING' on 20 Jan 2017."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}, {"id": "27", "sentence": "For this event, Kahn did some kind of improvisation session on the works of the three invited artists."}, {"id": "28", "sentence": "John Duncan took part in our event on 5 Oct 2018."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}, {"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}, {"id": "32", "sentence": "For this special event he used be using the guzheng and electronics as instruments of choice."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "presence": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}, {"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}], "Free": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "PINKIE": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}], "student": [{"id": "02", "sentence": "Each student had to develop their own project around the process of making a score."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}], "Graphic": [{"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}], "basic": [{"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}], "self-invented": [{"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}], "version": [{"id": "06", "sentence": "As mentioned, the first version was a modified Casio keyboard."}, {"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "As mentioned, this is the short version, can you give me the full story?"}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}], "leader": [{"id": "11", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "18", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}], "begun": [{"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}], "blacker": [{"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "friend": [{"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}], "self-aware": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}], "1963": [{"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}], "ago": [{"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "27", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}], "frustrates": [{"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}], "bases": [{"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}], "promoting": [{"id": "10", "sentence": "The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}], "chiptune": [{"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "confines": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}], "consisted": [{"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}], "waveform": [{"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}], "mortal": [{"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "Chico": [{"id": "24", "sentence": "Patrick Stump 'Curvy Cola Bottle Body' by Chico 'D.A.N.C.E."}], "connection": [{"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}], "putting": [{"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}], "one-to-one": [{"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}], "Sony": [{"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}], "billboards": [{"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Metrostation Maashaven."}], "English-language": [{"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "institutional": [{"id": "04", "sentence": "His studio work focuses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "His studio focuses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}], "Bouwman": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "2015": [{"id": "06", "sentence": "It was presented at Stadslimiet, Antwerp, as an installation piece on 2 Jul 2015."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}], "contrast": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}], "myriad": [{"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}], "soon": [{"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}], "animation": [{"id": "21", "sentence": "Fersteinn works with the method of so-called 'animation'."}, {"id": "22", "sentence": "This Icelandic quartet plays with little analogue instruments and animation scores Gunnarsson made on his computer."}], "vast": [{"id": "27", "sentence": "It is a vast scar in the landscape, and really an incredible place."}], "couldn": [{"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}], "http": [{"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Writers": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "imagine": [{"id": "14", "sentence": "It completely complimented our thinking around how to imagine the concept of composing and making scores."}], "Principium": [{"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}, {"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "06", "sentence": "We first encountered 'Principium 1.0'."}, {"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "This resulted in 'Principium 2.0'."}, {"id": "06", "sentence": "Principium' comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson made two booklets in the 'Principium' series – comprised of reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "Principium 2.0' is then another piece in step with the principle of Colson's original 'Principium'."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "This is an interview with Kris Delacourt (Remörk) on his practice and the 'Principium' story."}, {"id": "06", "sentence": "The interview was conducted after he exhibited 'Principium 2.0' in an installation setting at Stadslimiet, Antwerp."}, {"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}], "Queens": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Borrow": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "NIEA": [{"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "mountains": [{"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}], "recoding": [{"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}], "Do-Re-Mi": [{"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}], "Come": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Virtual": [{"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "pioneers": [{"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}], "pushed": [{"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}], "instantly": [{"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}], "Musikin": [{"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "couple": [{"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}], "Hurdy-gurdy": [{"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}], "Manhattan": [{"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}], "unconventional": [{"id": "22", "sentence": "It results in very delicate and unconventional chamber music."}], "scratched": [{"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "Furtado": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}], "audiovisual": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "10", "sentence": "The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}], "manmade": [{"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}], "shouldn": [{"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}], "Eindhoven": [{"id": "04", "sentence": "He is also an art book publisher (Onomatopee, Eindhoven, and WdW Review, Rotterdam)."}], "Morse": [{"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to Morse code."}], "Academy": [{"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}, {"id": "28", "sentence": "He is currently a sound designer at the Art Academy of Bologna, Italy."}], "NILSEN": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}], "naive": [{"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}], "poet": [{"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}], "understanding": [{"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}], "Fylkingen-affiliated": [{"id": "09", "sentence": "JOHANNES BERGMARK (SE) Johannes Bergmark is a Fylkingen-affiliated sound artist, instrument builder and piano technician."}], "Cyrus": [{"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}], "itself": [{"id": "05", "sentence": "The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology and national security."}, {"id": "18", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called 'cheironmy'."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}, {"id": "29", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "renewed": [{"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}], "ArtEZ": [{"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}], "rehearsals": [{"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "Avenged": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Gerben": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "investigative": [{"id": "13", "sentence": "He sees it as punk, experimental, noise, investigative and critical, searching for dissonance and ordering of information, for rhythm and tonality."}], "indicates": [{"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "Haraldsson": [{"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "known": [{"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "05", "sentence": "We have known Vaast Colson to be an interesting artist for quite some time already."}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}, {"id": "30", "sentence": "People who make black MIDIs are known as 'blackers'."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "31", "sentence": "One of Marco's most-known projects is called 'Black Mass Implosion'."}], "reasons": [{"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}], "re": [{"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "They're just new pieces in their own right."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}], "aspects": [{"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}], "impact": [{"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "27", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope."}], "behind": [{"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "hand-drawn": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}], "placed": [{"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "24", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}], "special": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "19", "sentence": "For 'Pushing Scores', we invited him to make special work for a limited edition."}, {"id": "24", "sentence": "Johannes Kreidler is a special case when it comes to composing."}, {"id": "32", "sentence": "For this special event he used be using the guzheng and electronics as instruments of choice."}], "Fuller": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "power": [{"id": "05", "sentence": "Colson's works examine core questions: What power does art have to change us and our society?"}], "Groupe": [{"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}], "traced": [{"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "those": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "06", "sentence": "The office material, those colourful little dots."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "Kris Delacourt: If you force me to choose between those two, then drone."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}, {"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "27", "sentence": "In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it ."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "archive": [{"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will host the evening, and explain their ideas and approach to developing the archive."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "25", "sentence": "Because she uses and records the archive, the end result almost turns out to be a DJ set."}, {"id": "27", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "27", "sentence": "He also expanded his archive with all related logistic processes."}, {"id": "29", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "32", "sentence": "Pushing Scores website launch and performance evening At the end of 2018, De Player approached Varia to develop a web-publication for their Pushing Scores project archive, which resulted in the current website."}, {"id": "32", "sentence": "The material is embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "32", "sentence": "Navigating within the data structure of the archive becomes an act of score notation, and is thus based on subjective association and drifting."}, {"id": "32", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "32", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "32", "sentence": "Christine Cornwell one dot = one degree / one step / one word spoken This piece explores different layers of interpretation taken from the starting point of any archive-text-score."}, {"id": "32", "sentence": "It invited anyone to follow simple instructions to create a spatial representation of different people's individual navigations through the archive."}], "skills": [{"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}], "sat": [{"id": "04", "sentence": "These books were the starting point for curating the event, which subsequently sat within our 'Pushing Scores' project."}, {"id": "06", "sentence": "Kris Delacourt: There were some people there that sat through the whole thing, yes."}], "archival": [{"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "25", "sentence": "Her archival approach and its political and personal implications are the starting point of this work."}, {"id": "29", "sentence": "Varia has developed a context and technical environment as a web-based archival publication."}, {"id": "32", "sentence": "Varia contributed by developing an archival web publication where the vernacular vocabulary of De Player creates the possibilities of text-based navigation across the collection of items."}], "VUKSIC": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "VALENTINA VUKSIC (CH/NL) Valentina Vuksic is a computer artist and programmer based in Zürich."}], "Days": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Laposky": [{"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}], "sonar": [{"id": "27", "sentence": "It gives them an image, a bit similar to sonar."}], "Everything": [{"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}], "1967": [{"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}], "avant-gardists": [{"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}], "carefully": [{"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}], "Woody": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "ultimate": [{"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}], "mineral": [{"id": "27", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}], "arctic": [{"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}], "avant-garde": [{"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "forms": [{"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "20", "sentence": "In a multicultural situation, abstract sounds are forms of recognition; then there is, for example, music."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}, {"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "27", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them ."}], "Mead": [{"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}], "training": [{"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}], "members": [{"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}, {"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}], "Cristina": [{"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}], "inputs": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}], "afraid": [{"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}], "Travis": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "2009": [{"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}], "Amsterdam-based": [{"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}], "manufacturers": [{"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}], "Both": [{"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "27", "sentence": "Both in active mines and in the abandoned mines and buildings surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}], "searched": [{"id": "07", "sentence": "To complete the event we searched for two completely different approaches to composition."}, {"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "performers": [{"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}], "Apr": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}], "2012": [{"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}], "Most": [{"id": "09", "sentence": "Most projects are aimed at interaction with an audience (of one or more people)."}, {"id": "21", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "27", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}], "Cramer": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "misuse": [{"id": "06", "sentence": "But it's still a relevant idea to me, this kind of creative misuse."}], "note": [{"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "So the C note runs for tens minutes and the B note is something like five minutes and twenty seconds."}, {"id": "11", "sentence": "A seventh note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}, {"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}, {"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "evolution": [{"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}], "famous": [{"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}], "Bones": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "synthetic": [{"id": "27", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}], "cheaper": [{"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}], "Siberia": [{"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "Iraqi": [{"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "auditory": [{"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}], "Sandy": [{"id": "24", "sentence": "Sandy 'Baby Fratelli' by The Fratellis 'Baby Love' by Nicole Scherzinger Feat."}], "considered": [{"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}, {"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "31", "sentence": "From this perspective, his live performances can also be considered as black mass implosions."}], "Technology": [{"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}], "vectors": [{"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}], "antisocial": [{"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}], "Embodiment": [{"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}], "Navid": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "casts": [{"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}], "titled": [{"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}], "explores": [{"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "32", "sentence": "Christine Cornwell one dot = one degree / one step / one word spoken This piece explores different layers of interpretation taken from the starting point of any archive-text-score."}], "lack": [{"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "Perhaps": [{"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}], "score": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "So what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "02", "sentence": "Each student had to develop their own project around the process of making a score."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "And since I'm a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "I followed that score for eight hours straight."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the working process."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "Her score was made on the spot with programming language; a sort of live coding."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "An interactive graphic score/light box/kinetic work fixed inside the cabinet, and 2."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}, {"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "18", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called 'cheironmy'."}, {"id": "23", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}, {"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}, {"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "31", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "32", "sentence": "Navigating within the data structure of the archive becomes an act of score notation, and is thus based on subjective association and drifting."}, {"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}, {"id": "32", "sentence": "Christine Cornwell one dot = one degree / one step / one word spoken This piece explores different layers of interpretation taken from the starting point of any archive-text-score."}], "SynthFont": [{"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "honourable": [{"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job designing the packaging."}], "war": [{"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}], "colour": [{"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}], "stability": [{"id": "27", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}], "mutated": [{"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}], "Metropolis": [{"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}], "disk": [{"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}], "meaning": [{"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "20", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}], "offered": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}], "observed": [{"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}], "instrument": [{"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "09", "sentence": "JOHANNES BERGMARK (SE) Johannes Bergmark is a Fylkingen-affiliated sound artist, instrument builder and piano technician."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "I also worked with stone as an instrument, striking and recording it."}], "Price": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "mediation": [{"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}], "Luv": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "VAN": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}], "drifting": [{"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "32", "sentence": "Navigating within the data structure of the archive becomes an act of score notation, and is thus based on subjective association and drifting."}], "oscilloscopes": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}], "Canadian": [{"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}], "fully": [{"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}], "juxtaposition": [{"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}], "Flenger": [{"id": "06", "sentence": "There's Vaast Colson, Peter Flenger and Dennis Tyfus too."}], "pulses": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}], "dedicated": [{"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}], "longer": [{"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}], "comparisons": [{"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}], "Triple": [{"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}], "so": [{"id": "01", "sentence": "Just so you can see them day and night, for roughly three weeks long."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to Morse code."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "Kris Delacourt: The 10\" records have all been sold as well, so they sit somewhere in the middle."}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called 'telephone adapters'."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}, {"id": "21", "sentence": "Fersteinn works with the method of so-called 'animation'."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}, {"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "27", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "principles": [{"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}], "options": [{"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}], "perseus-eng1": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "Goddess": [{"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}], "Book": [{"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}], "since": [{"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "And since I'm a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "10", "sentence": "The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "conductors": [{"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}], "150": [{"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}], "Atli": [{"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "question": [{"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media to this day."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}], "too": [{"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "There’s something appealing in the number twelve even, and there's the appeal of building instruments too."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "There's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Does it feel like that for you too: As your first 'real' album, as a statement?"}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "27", "sentence": "In practice it's quite mathematical, but it still it is part of the sound world too."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}], "turntable": [{"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}], "TheTrueEnd": [{"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}], "own": [{"id": "02", "sentence": "Each student had to develop their own project around the process of making a score."}, {"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it's own."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "They're just new pieces in their own right."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpart to his own musical input."}, {"id": "10", "sentence": "Software being processed creates its own temporal and spatial dimensions, which are staged for a public."}, {"id": "13", "sentence": "It was an investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}, {"id": "22", "sentence": "He runs his own multi-instrumentalist quartet called Fersteinn."}, {"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}, {"id": "26", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "27", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "28", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}], "Crumb": [{"id": "26", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}], "traditional": [{"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "21", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "Instead of using traditional musical scores during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}], "believing": [{"id": "26", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}], "current": [{"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "So what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "20", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "32", "sentence": "Pushing Scores website launch and performance evening At the end of 2018, De Player approached Varia to develop a web-publication for their Pushing Scores project archive, which resulted in the current website."}], "Willem": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Boxes": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "utopias": [{"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}], "per": [{"id": "04", "sentence": "His websites attract a large audience of over forty million unique visits per year."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}], "tried": [{"id": "07", "sentence": "Until I tried it."}, {"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "27", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}], "extent": [{"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}], "much": [{"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB Records."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process as navigating its actualisation."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "27", "sentence": "How much influence does it have on a community?"}, {"id": "27", "sentence": "So much time is compressed in this material and it's burned up in minutes."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "Vleeshal": [{"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}], "done": [{"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}], "Up": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "Team 'Don't' by Elvis Presley With The Jordanaires 'Don't Dance' by Midas 'Don't Give It Up' by Siobhan Donaghy"}], "depending": [{"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}], "Finnish": [{"id": "13", "sentence": "He designed the publication and identity of the 'Aalto Natives' at the Finnish Pavilion of the 57th Venice Biennale."}], "Helsinki": [{"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "Mitterrand": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}], "talk": [{"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "27", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}], "inviting": [{"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}], "ever-evolving": [{"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}], "now": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "27", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}, {"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}], "eaten": [{"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "million-note": [{"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}], "months": [{"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}], "rockets": [{"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "spaces": [{"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}], "abusive": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "most-known": [{"id": "31", "sentence": "One of Marco's most-known projects is called 'Black Mass Implosion'."}], "Always": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Snow": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "foremost": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}], "perseus": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "printing": [{"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "29", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}], "street": [{"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}], "Morning": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "results": [{"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "22", "sentence": "It results in very delicate and unconventional chamber music."}, {"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "This one is a pretty contemporary example and results in great imagery and sound."}], "repeating": [{"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}], "Department": [{"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}], "Shena": [{"id": "24", "sentence": "Shena 'Dark Road' by Annie Lennox 'Delivery' by Babyshambles 'Desecration Smile' by Red Hot Chili Peppers 'Destination Calabria' by Alex Gaudino feat."}], "overdetermined": [{"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}], "Circle": [{"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}], "psycho-acoustic": [{"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}], "emulation": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}], "announcements": [{"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}], "necessity": [{"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}], "surface": [{"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "27", "sentence": "If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste."}], "After": [{"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}], "Rapsodia": [{"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}], "endurance": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "But": [{"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "But it's still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "But Vaast, for instance, refuses to regard it as his doing."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}, {"id": "23", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}], "Participants": [{"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}], "PIECES": [{"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}], "BLADEL": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}], "immersive": [{"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}], "anymore": [{"id": "27", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}], "Tilburg": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "amongst": [{"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}], "foreshadow": [{"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}], "No": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "relationship": [{"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "What is the relationship between the sounds of mining and the community that surrounds them?"}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}], "web-based": [{"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "29", "sentence": "Varia has developed a context and technical environment as a web-based archival publication."}], "Academie": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "dancer": [{"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}], "embed": [{"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}], "lasting": [{"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}], "VARIA": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}], "once-current": [{"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}], "potential": [{"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "05", "sentence": "The commercial potential and its associated value assessment are problematic for Colson."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "20", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}, {"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}, {"id": "32", "sentence": "To engage with this potential, De Player and Varia asked several artists to work with the tool and use the result as a starting point for a performance."}], "interferometry": [{"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}], "spread": [{"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}], "follow": [{"id": "06", "sentence": "And I follow that."}, {"id": "21", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "Instead of using traditional musical scores during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "32", "sentence": "It invited anyone to follow simple instructions to create a spatial representation of different people's individual navigations through the archive."}], "Chemical": [{"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "South": [{"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "Hudgens": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "logistics": [{"id": "27", "sentence": "Both in active mines and in the abandoned mines and buildings surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}], "possibilities": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The 'E-ARTHHA' event is about the search for new interfaces and possibilities for sound composition, image and performance."}, {"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "02", "sentence": "This was put in place to both limit possibilities and to unite the format."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "27", "sentence": "Currently, Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "30", "sentence": "This not only counts for publishing but also for exploring new possibilities for artist practice in general."}, {"id": "32", "sentence": "Varia contributed by developing an archival web publication where the vernacular vocabulary of De Player creates the possibilities of text-based navigation across the collection of items."}], "Nynne": [{"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}], "poems": [{"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}], "frequencies": [{"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "preserved": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "tones": [{"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to Morse code."}, {"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "builder": [{"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "09", "sentence": "JOHANNES BERGMARK (SE) Johannes Bergmark is a Fylkingen-affiliated sound artist, instrument builder and piano technician."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}], "launch": [{"id": "32", "sentence": "Pushing Scores website launch and performance evening At the end of 2018, De Player approached Varia to develop a web-publication for their Pushing Scores project archive, which resulted in the current website."}], "copy": [{"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "05", "sentence": "The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded."}, {"id": "05", "sentence": "The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself."}], "check": [{"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}], "lifestyle": [{"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}], "public": [{"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "10", "sentence": "Software being processed creates its own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "11", "sentence": "The invitation was perfectly suited for a project in public space that he had in mind for 'Pushing Scores'."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}, {"id": "31", "sentence": "A huge public announcement system was in the office blazing loud, but very articulated sound."}], "Japanese": [{"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}], "Kokmeijer": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "defined": [{"id": "07", "sentence": "The usual code of the record, as defined by the music industry, was broken in all works."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}], "veins": [{"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "technologies": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "10", "sentence": "By writing choreographies for software and computer elements, she utilises these technologies as actors in software/noise pieces for, and in, computers."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}], "method": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "18", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called 'cheironmy'."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "21", "sentence": "Fersteinn works with the method of so-called 'animation'."}], "unfold": [{"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}], "share": [{"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}, {"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}], "superiority": [{"id": "26", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}], "Joy": [{"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}], "colossal": [{"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "33": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "galleries": [{"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}], "southwestern": [{"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "Tempest": [{"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "thick": [{"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "27", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "Musicales": [{"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}], "labour": [{"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}], "presents": [{"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "07", "sentence": "TELCOSYSTEMS (NL) Telcosystems presents 'Resonanz', an electronic book combining a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "With 'Resonanz', Telcosystems presents an electronic book that combines a series of visual artworks and a sound publication."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "determines": [{"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, which determines the rhythm."}, {"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}], "relations": [{"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "27", "sentence": "In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it ."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "32", "sentence": "The material is embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "Palestine": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}], "initiatives": [{"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}, {"id": "08", "sentence": "The initiatives gather within a part of the programme called 'Intersections'."}], "spoken-word": [{"id": "19", "sentence": "For this he developed specific software that generates poetry in spoken-word form."}], "abstruse": [{"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "32", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}], "new": [{"id": "01", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The 'E-ARTHHA' event is about the search for new interfaces and possibilities for sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "02", "sentence": "This is a magazine without any format, with the intention for a new one to be developed each time."}, {"id": "04", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "06", "sentence": "He then reassembled these line segments into new shapes and new lines."}, {"id": "06", "sentence": "Line segments which he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "They're just new pieces in their own right."}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "All had worked with the medium of the vinyl record and added a new use/application."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "15", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "21", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "25", "sentence": "Ana Guedes' project 'UNTITLED RECORDS' fits into our idea of finding new ways to compose very seamlessly."}, {"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "27", "sentence": "Currently, Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "30", "sentence": "This not only counts for publishing but also for exploring new possibilities for artist practice in general."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "32", "sentence": "The material is embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}], "publish": [{"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}], "probe": [{"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}], "lend": [{"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "C": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "So the C note runs for tens minutes and the B note is something like five minutes and twenty seconds."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "Patrick Stump 'Curvy Cola Bottle Body' by Chico 'D.A.N.C.E."}], "BERGMARK": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "JOHANNES BERGMARK (SE) Johannes Bergmark is a Fylkingen-affiliated sound artist, instrument builder and piano technician."}], "frame": [{"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}], "there": [{"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in the number twelve even, and there's the appeal of building instruments too."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "Were there people who actually listened to the whole eight-hour performance?"}, {"id": "06", "sentence": "Kris Delacourt: There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}, {"id": "06", "sentence": "I guess I am aiming for the best of both worlds there."}, {"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}, {"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "20", "sentence": "In a multicultural situation, abstract sounds are forms of recognition; then there is, for example, music."}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "23", "sentence": "Before God needed to be invented there were man."}, {"id": "23", "sentence": "Before language there was the song."}, {"id": "23", "sentence": "Before the song there was the yodel,' As Bart Plantenga stated in his reading on yodeling."}, {"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "27", "sentence": "The mountain just sits there."}, {"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "27", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "27", "sentence": "She still stores coal there in a small outhouse (called 'kullbingen')."}, {"id": "27", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "27", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "27", "sentence": "You have to take a boat to get there."}, {"id": "27", "sentence": "We have a tunnel that leads there."}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "You can only survive there if you work with nature."}, {"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}, {"id": "30", "sentence": "In that sense, there is never a perfect reproduction but always an interpretation."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}], "Staal": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "clients": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "Zeus": [{"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "residencies": [{"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}], "concept": [{"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "I could have gone for something more 'correct' in terms of concept – I don't know, pure sine waves or something."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process as navigating its actualisation."}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or perhaps you would perceive it as a failure if it weren't enjoyable without the concept?"}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "14", "sentence": "It completely complimented our thinking around how to imagine the concept of composing and making scores."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "24", "sentence": "Johannes Kreidler is a composer and concept and media artist."}, {"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "der": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "viewpoints": [{"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}], "controls": [{"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}], "Almost": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "relatively": [{"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}], "celebrated": [{"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}], "Witt": [{"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}], "continues": [{"id": "01", "sentence": "This continues to question the representation of sound in media to this day."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}], "recordings": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "27", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "27", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "27", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "27", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "27", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "I'm always processing and refining my field recordings."}, {"id": "28", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "Ingólfsson": [{"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "niobium": [{"id": "27", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics."}], "elements": [{"id": "06", "sentence": "Sometimes I preferred elements because of harmonic information, notes that work well together, sometimes because of rhythms that worked well, etc."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "By writing choreographies for software and computer elements, she utilises these technologies as actors in software/noise pieces for, and in, computers."}, {"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}, {"id": "24", "sentence": "He usually uses multimedia elements."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Grøn": [{"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}], "Lazytown": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "WIFI": [{"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}], "superfast": [{"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}], "SEQUENCER": [{"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}], "who": [{"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "04", "sentence": "RAFAËL ROZENDAAL (NL) Rafaël Rozendaal is a visual artist who uses the Internet as his canvas."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be referred to as 'post-ironic'."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job designing the packaging."}, {"id": "06", "sentence": "Were there people who actually listened to the whole eight-hour performance?"}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}, {"id": "25", "sentence": "Ana Guedes is a multidisciplinary artist from Portugal who lives and works in the Hague."}, {"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}, {"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "27", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "28", "sentence": "Duncan also often works with Carl Michael Hausswolff, who is an expert in EVP."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "30", "sentence": "People who make black MIDIs are known as 'blackers'."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}], "Eric": [{"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}], "connect": [{"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}], "combine": [{"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}], "Arnold": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}], "clear": [{"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}], "feeds": [{"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}], "affects": [{"id": "26", "sentence": "When the webs are harvested, my hand affects their original form."}, {"id": "27", "sentence": "In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it ."}], "two-stave": [{"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}], "Aloud": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "plucks": [{"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}], "tailings": [{"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}], "artistic": [{"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "05", "sentence": "He opens up the artistic field to explore what is happening in the art world."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "13", "sentence": "It was an investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "27", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "drying": [{"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}], "Need": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "land": [{"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "27", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}], "superstructure": [{"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}], "explosive": [{"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}], "day": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Just so you can see them day and night, for roughly three weeks long."}, {"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "This continues to question the representation of sound in media to this day."}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "sound": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "The 'E-ARTHHA' event is about the search for new interfaces and possibilities for sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "01", "sentence": "This continues to question the representation of sound in media to this day."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "04", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "Every aspect of his work deals with the quality of sound."}, {"id": "04", "sentence": "JUSTIN BENNETT (UK) Justin Bennett is an artist working with sound and visual media."}, {"id": "04", "sentence": "At every level of detail, the everyday sound of our urban surroundings is the focus of his work."}, {"id": "04", "sentence": "Within it, he develops the reciprocity of music and architecture, and of sound and image."}, {"id": "05", "sentence": "The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "TELCOSYSTEMS (NL) Telcosystems presents 'Resonanz', an electronic book combining a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "With 'Resonanz', Telcosystems presents an electronic book that combines a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}, {"id": "07", "sentence": "— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne."}, {"id": "07", "sentence": "She is part of the sound art collective Sculptress of Sound."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "09", "sentence": "JOHANNES BERGMARK (SE) Johannes Bergmark is a Fylkingen-affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "19", "sentence": "For example, his work 'frakativ' is an electronic visual sound poetry performance."}, {"id": "19", "sentence": "The performance 'frikativ' is real-time generated visual and sound poetry."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}, {"id": "20", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "20", "sentence": "Inspiration comes in the form of vocal poetry, 'poésie sonore' and text-sound composition."}, {"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "21", "sentence": "Gunnarsson's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "25", "sentence": "She works with sound, video, installation and performance."}, {"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "25", "sentence": "This 'other way' to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "27", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "27", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "27", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "27", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "27", "sentence": "Currently, Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}, {"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}, {"id": "27", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "The sound of the mine was always present."}, {"id": "27", "sentence": "I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "27", "sentence": "In practice it's quite mathematical, but it still it is part of the sound world too."}, {"id": "27", "sentence": "It’s a kind of sound alchemy."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "28", "sentence": "He is currently a sound designer at the Art Academy of Bologna, Italy."}, {"id": "28", "sentence": "Since the beginning of his practice, he has made extensive use of recorded sound."}, {"id": "30", "sentence": "This one is a pretty contemporary example and results in great imagery and sound."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "31", "sentence": "A huge public announcement system was in the office blazing loud, but very articulated sound."}, {"id": "32", "sentence": "Robert Kroos (aka Duckfood) is a Rotterdam based musician, sound-artist and DJ working on all kinds of sound- and music related projects."}], "keep": [{"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "Aguilera": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "anything": [{"id": "06", "sentence": "I don't think of it as a manifesto or anything."}], "Crank": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "must": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}], "flow": [{"id": "06", "sentence": "Art is letting things go, let it flow."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}, {"id": "27", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}], "gold": [{"id": "27", "sentence": "If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "All to get to the desired result: The gold!"}], "wide-ranging": [{"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "d": [{"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}], "gone": [{"id": "06", "sentence": "I could have gone for something more 'correct' in terms of concept – I don't know, pure sine waves or something."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages throughout its history: 1."}], "SCORES": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}], "editorial": [{"id": "04", "sentence": "His studio work focuses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "His studio focuses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}], "completed": [{"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}], "mechanical": [{"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}], "ears": [{"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}], "blackers": [{"id": "30", "sentence": "People who make black MIDIs are known as 'blackers'."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "Verostko": [{"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}], "filters": [{"id": "27", "sentence": "I apply filters, use electronics."}], "pragmatic": [{"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}], "famously": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}], "unintentional": [{"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}], "Nations": [{"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}], "thread": [{"id": "27", "sentence": "That's why I wanted to have a thread about the regeneration of mining areas."}], "HITS": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}], "attempt": [{"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}], "JOHANNES": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "JOHANNES BERGMARK (SE) Johannes Bergmark is a Fylkingen-affiliated sound artist, instrument builder and piano technician."}], "About": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "need": [{"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}], "knew": [{"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}], "after": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "The interview was conducted after he exhibited 'Principium 2.0' in an installation setting at Stadslimiet, Antwerp."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "18", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called 'cheironmy'."}, {"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "27", "sentence": "It created a vacuum after it closed."}], "year": [{"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "04", "sentence": "His websites attract a large audience of over forty million unique visits per year."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}], "selecting": [{"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}], "Williams": [{"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "signature": [{"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}], "uniform": [{"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}], "Dust": [{"id": "24", "sentence": "Timbaland 'Another One Bites The Dust' by Queen vs."}], "aids": [{"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}], "experimenting": [{"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "named": [{"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "24", "sentence": "Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}], "Girl": [{"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}, {"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "ink": [{"id": "04", "sentence": "They are cheap dummy books, onto which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}], "assessment": [{"id": "05", "sentence": "The commercial potential and its associated value assessment are problematic for Colson."}], "don": [{"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "So I don’t think I've quite finished with it, no."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "I could have gone for something more 'correct' in terms of concept – I don't know, pure sine waves or something."}, {"id": "06", "sentence": "So I don't think I belong in the conceptual art section."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "I don't know."}, {"id": "06", "sentence": "I don't think of it as a manifesto or anything."}, {"id": "06", "sentence": "I don't feel this record has that."}], "Una": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "oldest": [{"id": "27", "sentence": "The north of Norway is one of the oldest rock formations in the world."}], "enhance": [{"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}], "Doing": [{"id": "24", "sentence": "The Ping Pong Song)' by Enrique Iglesias 'Doing It Right' by The Go!"}], "fa": [{"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}], "two-player": [{"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}], "Day": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "include": [{"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "27", "sentence": "It doesn't relate directly to mining, but it extends the project to include geology, deep time and stone."}], "1991": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}], "Disco": [{"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}], "tribute": [{"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}], "encountered": [{"id": "06", "sentence": "We first encountered 'Principium 1.0'."}], "arbitrary": [{"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}], "gather": [{"id": "08", "sentence": "The initiatives gather within a part of the programme called 'Intersections'."}], "Wrecking": [{"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}], "keyboard": [{"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "As mentioned, the first version was a modified Casio keyboard."}, {"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}], "Informed": [{"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}], "attempts": [{"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}], "soundings": [{"id": "27", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}], "Robert": [{"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}, {"id": "32", "sentence": "Robert Kroos made a setup that enabled him to respond to a multitude of parameters."}, {"id": "32", "sentence": "Robert Kroos (aka Duckfood) is a Rotterdam based musician, sound-artist and DJ working on all kinds of sound- and music related projects."}], "Small": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "The work was installed for a period at The Small Museum – a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}], "Long": [{"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}], "Paramore": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "appeared": [{"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}], "m": [{"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "And since I'm a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "27", "sentence": "I'm very interested in the hidden layers and history the landscape."}, {"id": "27", "sentence": "I'm always processing and refining my field recordings."}], "activate": [{"id": "29", "sentence": "On the spot, the audience could activate the UNI."}], "dead": [{"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "operate": [{"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "29", "sentence": "It is based in Rotterdam in the same area that we operate in."}], "limits": [{"id": "20", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}], "Without": [{"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "by Band Aid 'Do Without My Love' by Nathan [UK] 'Do You Know?"}, {"id": "27", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics."}], "start": [{"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "09", "sentence": "However, it was decided to start from the floppy disc as a medium."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}, {"id": "27", "sentence": "It's absurd when you start to think about it."}], "Atari": [{"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}], "directing": [{"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}], "4": [{"id": "12", "sentence": "Repeating, 4."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "years": [{"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Well, a little… Two years, actually."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "27", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "27", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "32", "sentence": "The project investigated the state of the arts of composing scores in a contemporary environment and spanned over 2-3 years."}], "Steve": [{"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}], "experiment": [{"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "Technical": [{"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "Joseph": [{"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}], "care": [{"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}], "experimentation": [{"id": "24", "sentence": "This makes it particularly interesting when viewed from the perspective of experimentation and unorthodox composing."}], "1990": [{"id": "27", "sentence": "Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34."}], "cooperation": [{"id": "13", "sentence": "The entire 'Pushing Scores' project was set up in cooperation with Remco van Bladel."}], "autonomous": [{"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}], "Afterwards": [{"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}], "turned": [{"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}, {"id": "27", "sentence": "It just turned out that way, perhaps because that's how we generally tend to structure material."}], "pianos": [{"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "207": [{"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}], "engagement": [{"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}], "myths": [{"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}, {"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}], "Bubbly": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "scoring": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "Nelly": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}], "mirror": [{"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}], "matching": [{"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "Peter brought six record players, matching the six colours of the vinyl nicely – two notes each."}], "Enemy": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}], "Gaudino": [{"id": "24", "sentence": "Shena 'Dark Road' by Annie Lennox 'Delivery' by Babyshambles 'Desecration Smile' by Red Hot Chili Peppers 'Destination Calabria' by Alex Gaudino feat."}], "brightness": [{"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "desolate": [{"id": "27", "sentence": "The landscape is fairly untouched, it is scarcely populated, it's desolate."}, {"id": "27", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "27", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}], "By": [{"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "10", "sentence": "By writing choreographies for software and computer elements, she utilises these technologies as actors in software/noise pieces for, and in, computers."}, {"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "24", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "27", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}], "Never": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "gip167": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "forth": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}], "Régine": [{"id": "07", "sentence": "— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne."}], "controllable": [{"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}], "JULIA": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne."}], "free": [{"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "translate": [{"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}], "fostering": [{"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}], "complex": [{"id": "05", "sentence": "It is a complex work that nevertheless manages to remain simple and accessible in its final execution."}, {"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "Trying": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}], "thousands": [{"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}], "Annie": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Shena 'Dark Road' by Annie Lennox 'Delivery' by Babyshambles 'Desecration Smile' by Red Hot Chili Peppers 'Destination Calabria' by Alex Gaudino feat."}], "Johannes": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "JOHANNES BERGMARK (SE) Johannes Bergmark is a Fylkingen-affiliated sound artist, instrument builder and piano technician."}, {"id": "24", "sentence": "Johannes Kreidler is a special case when it comes to composing."}, {"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}, {"id": "24", "sentence": "Johannes Kreidler is a composer and concept and media artist."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}], "themselves": [{"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}], "Is": [{"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "particularly": [{"id": "12", "sentence": "It was particularly of interested to us because of the way in which he focuses on the reproduction of music."}, {"id": "24", "sentence": "This makes it particularly interesting when viewed from the perspective of experimentation and unorthodox composing."}], "Meanwhile": [{"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}], "similar": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "27", "sentence": "It gives them an image, a bit similar to sonar."}], "Fratellis": [{"id": "24", "sentence": "Sandy 'Baby Fratelli' by The Fratellis 'Baby Love' by Nicole Scherzinger Feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Mika": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Buennagel": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}], "installation": [{"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}, {"id": "06", "sentence": "The final installation will have twelve separate pieces: A complete octave."}, {"id": "06", "sentence": "It was presented at Stadslimiet, Antwerp, as an installation piece on 2 Jul 2015."}, {"id": "06", "sentence": "The interview was conducted after he exhibited 'Principium 2.0' in an installation setting at Stadslimiet, Antwerp."}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "08", "sentence": "We decided to envision the framework for the installation as a three-dimensional staff to write down music."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "25", "sentence": "She works with sound, video, installation and performance."}, {"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "32", "sentence": "Niek built an interactive installation, which can be summarized as a portable music staff where the actual scores/notes were hung on like a washing line."}], "well-known": [{"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}], "boring": [{"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}], "functioning": [{"id": "06", "sentence": "It really was a one-time event, with the vinyls functioning as a tool, yes."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}], "Reconstruction": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}], "every": [{"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "04", "sentence": "At every level of detail, the everyday sound of our urban surroundings is the focus of his work."}, {"id": "05", "sentence": "The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}], "develop": [{"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "02", "sentence": "Each student had to develop their own project around the process of making a score."}, {"id": "06", "sentence": "He was intrigued by the invitation, but it took a long time to develop."}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "32", "sentence": "Pushing Scores website launch and performance evening At the end of 2018, De Player approached Varia to develop a web-publication for their Pushing Scores project archive, which resulted in the current website."}], "normally": [{"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}], "reaction": [{"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}], "Eamon": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "touchpads": [{"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}], "descending": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "Museum": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "The work was installed for a period at The Small Museum – a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "clever": [{"id": "06", "sentence": "Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts."}], "darkened": [{"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}], "impulse": [{"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}], "generative": [{"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}], "coal": [{"id": "27", "sentence": "I did the same with coal."}, {"id": "27", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "27", "sentence": "She still stores coal there in a small outhouse (called 'kullbingen')."}, {"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}], "choice": [{"id": "32", "sentence": "For this special event he used be using the guzheng and electronics as instruments of choice."}], "VECTORIAN": [{"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "worker": [{"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "Otherwise": [{"id": "06", "sentence": "Otherwise you're not an artist."}], "ice": [{"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "27", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}], "transposes": [{"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}], "chunks": [{"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}], "P": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "intensified": [{"id": "04", "sentence": "They are intensified visual and audio perceptions in a specific space."}], "custom": [{"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "response": [{"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "performance-based": [{"id": "17", "sentence": "He is inspiring for a lot of performance-based composers."}], "procedure": [{"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "mentioned": [{"id": "06", "sentence": "As mentioned, the first version was a modified Casio keyboard."}, {"id": "06", "sentence": "As mentioned, this is the short version, can you give me the full story?"}, {"id": "20", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}], "misplaced": [{"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "bloggers": [{"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "Radical": [{"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}], "ensemble": [{"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}], "Roman": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}], "good": [{"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "10", "sentence": "It was a good concert and her way of working fit into our ideas of exploring graphic scores very well."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "27", "sentence": "It's good for the human psyche to be reminded of that."}], "Back": [{"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}], "Maiguashca": [{"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}], "discards": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}], "again": [{"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}], "downloaded": [{"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}], "U": [{"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}], "unnoticed": [{"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}], "non-verbal": [{"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}], "worth": [{"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}], "white": [{"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}], "Francisco": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "resistance": [{"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}], "Score": [{"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}], "DETUNING": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}], "Linkin": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "MORE": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}], "companies": [{"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "26", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "27", "sentence": "It is important for companies to manage this."}, {"id": "32", "sentence": "Christine Cornwell is a composer and violinist working between NL/UK with projects involving improvisation and collaborative work often combined with visual artists, dancers, opera companies or experimental TV."}], "Antwerp-based": [{"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp-based artists to contribute to the project."}], "Attali": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages throughout its history: 1."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}], "Junior": [{"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}], "looks": [{"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}], "impressions": [{"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}], "Codarts": [{"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}], "increased": [{"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}], "videos": [{"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}, {"id": "30", "sentence": "The end titles of many black MIDI videos display how many notes are in the piece."}], "consisting": [{"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}], "provide": [{"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}], "waiting": [{"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}], "rich": [{"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}], "Ben": [{"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}], "cabinet": [{"id": "11", "sentence": "An interactive graphic score/light box/kinetic work fixed inside the cabinet, and 2."}, {"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "The work was installed for a period at The Small Museum – a cabinet on the facade of Paradiso, Amsterdam."}], "2D": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}], "twentieth-century": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}], "aren": [{"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}], "appealing": [{"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "There's something appealing in using a single octave as a building block."}, {"id": "06", "sentence": "There’s something appealing in the number twelve even, and there's the appeal of building instruments too."}], "electric": [{"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "you": [{"id": "01", "sentence": "Just so you can see them day and night, for roughly three weeks long."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "As mentioned, this is the short version, can you give me the full story?"}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "In this way you would end up with all different records, each one an original."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to Morse code."}, {"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}, {"id": "06", "sentence": "DE PLAYER: Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "How do you do that?"}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}, {"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "How do you perceive the function a piece of vinyl can have?"}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "Does it feel like that for you too: As your first 'real' album, as a statement?"}, {"id": "06", "sentence": "DE PLAYER: Do you see this as a drone record?"}, {"id": "06", "sentence": "Kris Delacourt: If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or perhaps you would perceive it as a failure if it weren't enjoyable without the concept?"}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}, {"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "27", "sentence": "One is the waste you make to get to the ore."}, {"id": "27", "sentence": "If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste."}, {"id": "27", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "27", "sentence": "It's absurd when you start to think about it."}, {"id": "27", "sentence": "It's not like wind or the sun, which give you immediate energy."}, {"id": "27", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "27", "sentence": "In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it ."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "You can only survive there if you work with nature."}, {"id": "27", "sentence": "If you work against it, it will kill you."}, {"id": "27", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}], "electronics": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "15", "sentence": "Holzer often works through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "20", "sentence": "Improper uses of consumer electronics (e.g."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "I apply filters, use electronics."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}, {"id": "31", "sentence": "Spectral Arrows' is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "32", "sentence": "For this special event he used be using the guzheng and electronics as instruments of choice."}], "deltas": [{"id": "27", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}], "Transit": [{"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "inspirational": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}], "recognisable": [{"id": "06", "sentence": "Does this sound recognisable to you?"}], "ceiling": [{"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}], "underlies": [{"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}], "Do": [{"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "DE PLAYER: Do you see this as a drone record?"}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}, {"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}, {"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}, {"id": "24", "sentence": "by Band Aid 'Do Without My Love' by Nathan [UK] 'Do You Know?"}], "Feat": [{"id": "24", "sentence": "Sandy 'Baby Fratelli' by The Fratellis 'Baby Love' by Nicole Scherzinger Feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "homes": [{"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "Dec": [{"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}], "manipulate": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "32", "sentence": "He used a guzheng as a basis and then contact microphones to manipulate the sounds with software."}], "Maciunas": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}], "Professor": [{"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "deliver": [{"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}], "Pavilion": [{"id": "13", "sentence": "He designed the publication and identity of the 'Aalto Natives' at the Finnish Pavilion of the 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}], "culture": [{"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "inventions": [{"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}], "hesitation": [{"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}], "finally": [{"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "27", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}], "embarrassment": [{"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}], "applications": [{"id": "02", "sentence": "It has a Raspberry Pi sits at its core, and is programmed for several applications."}, {"id": "04", "sentence": "His studio work focuses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "13", "sentence": "His studio focuses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}], "Image": [{"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}], "Political": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}], "principle": [{"id": "06", "sentence": "Principium 2.0' is then another piece in step with the principle of Colson's original 'Principium'."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}], "recherches": [{"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}], "Yukki": [{"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}], "constellations": [{"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}], "soldiers": [{"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}], "Plantenga": [{"id": "23", "sentence": "Before the song there was the yodel,' As Bart Plantenga stated in his reading on yodeling."}], "low-wage": [{"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}], "originated": [{"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}], "Jazz": [{"id": "27", "sentence": "Mining' by BJ Nilsen, 'Jazz' by Max Franklin and 'Earthquake' by Aurelie Lierman."}], "revenue": [{"id": "27", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}], "vocabulary": [{"id": "32", "sentence": "Varia contributed by developing an archival web publication where the vernacular vocabulary of De Player creates the possibilities of text-based navigation across the collection of items."}], "proceeds": [{"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "non-existent": [{"id": "22", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}], "Arachnes": [{"id": "26", "sentence": "She presented her project entitled 'Arachnes Sonifier', in which she captures and makes audible spider webs."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}], "Whether": [{"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}], "Orson": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "colours": [{"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "Peter brought six record players, matching the six colours of the vinyl nicely – two notes each."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}], "Cornwell": [{"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}, {"id": "32", "sentence": "Christine Cornwell one dot = one degree / one step / one word spoken This piece explores different layers of interpretation taken from the starting point of any archive-text-score."}, {"id": "32", "sentence": "Christine Cornwell is a composer and violinist working between NL/UK with projects involving improvisation and collaborative work often combined with visual artists, dancers, opera companies or experimental TV."}], "converts": [{"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}], "women": [{"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "K2O": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "GOURDON": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}], "DEPLAYER": [{"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}], "investigation": [{"id": "13", "sentence": "It was an investigation into methodologies within his own artistic practice."}, {"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}], "witnesses": [{"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "radiating": [{"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}], "Lumidee": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "oriented": [{"id": "22", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}], "dialectical": [{"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "sit": [{"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Kris Delacourt: The 10\" records have all been sold as well, so they sit somewhere in the middle."}], "fairly": [{"id": "27", "sentence": "The landscape is fairly untouched, it is scarcely populated, it's desolate."}], "opportunity": [{"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}], "host": [{"id": "10", "sentence": "Varia will host the evening, and explain their ideas and approach to developing the archive."}], "Allen": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "African": [{"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}], "complimented": [{"id": "14", "sentence": "It completely complimented our thinking around how to imagine the concept of composing and making scores."}], "Dare": [{"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}], "complicated": [{"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}, {"id": "26", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}], "address": [{"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}], "billion": [{"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}], "engine": [{"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}], "constraint": [{"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}], "rather": [{"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "06", "sentence": "Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}], "melody": [{"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}], "drop": [{"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}], "problem": [{"id": "06", "sentence": "What was the problem?"}], "Player": [{"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}, {"id": "32", "sentence": "Pushing Scores website launch and performance evening At the end of 2018, De Player approached Varia to develop a web-publication for their Pushing Scores project archive, which resulted in the current website."}, {"id": "32", "sentence": "Varia contributed by developing an archival web publication where the vernacular vocabulary of De Player creates the possibilities of text-based navigation across the collection of items."}, {"id": "32", "sentence": "To engage with this potential, De Player and Varia asked several artists to work with the tool and use the result as a starting point for a performance."}], "rhythms": [{"id": "06", "sentence": "Sometimes I preferred elements because of harmonic information, notes that work well together, sometimes because of rhythms that worked well, etc."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}], "seventh": [{"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "A seventh note, 'si' or 'ti', was added later."}], "Or": [{"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Or as a collage record?"}, {"id": "06", "sentence": "Or perhaps you would perceive it as a failure if it weren't enjoyable without the concept?"}], "efficiency": [{"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}], "mediators": [{"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}], "2nite": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "spilling": [{"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}], "XPUB": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "Balloons": [{"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}], "mics": [{"id": "32", "sentence": "The individual lines of the staffs were movable by means of 5 handles which were amplified through contact mics."}], "17": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}], "Queen": [{"id": "24", "sentence": "Timbaland 'Another One Bites The Dust' by Queen vs."}], "Deterministic": [{"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}], "Piano": [{"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "performances": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Julia's solo live performances primarily refer to the modified vinyl records that produce extraordinary sounds."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "26", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "31", "sentence": "Spectral Arrows' is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "31", "sentence": "From this perspective, his live performances can also be considered as black mass implosions."}], "limbo": [{"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}], "gain": [{"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}], "Aurelie": [{"id": "27", "sentence": "Mining' by BJ Nilsen, 'Jazz' by Max Franklin and 'Earthquake' by Aurelie Lierman."}], "image": [{"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "The 'E-ARTHHA' event is about the search for new interfaces and possibilities for sound composition, image and performance."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "Within it, he develops the reciprocity of music and architecture, and of sound and image."}, {"id": "05", "sentence": "The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself."}, {"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "27", "sentence": "Currently, Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "27", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}], "Tudor": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}], "technology": [{"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it's use as a technology within her work."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology and national security."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}], "Under": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "government": [{"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology and national security."}], "guests": [{"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}], "realtime-controllable": [{"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}], "Platinum": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "continuous": [{"id": "05", "sentence": "What emotions and ethical choices guide an artist in a process of continuous change?"}], "webs": [{"id": "26", "sentence": "She presented her project entitled 'Arachnes Sonifier', in which she captures and makes audible spider webs."}, {"id": "26", "sentence": "The sonification of spider webs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "26", "sentence": "When the webs are harvested, my hand affects their original form."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}], "nuclear": [{"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology and national security."}], "emulating": [{"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}], "multi": [{"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "11", "sentence": "For this multi-vocal composition, Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "He runs his own multi-instrumentalist quartet called Fersteinn."}, {"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}], "collection": [{"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}, {"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "32", "sentence": "Varia contributed by developing an archival web publication where the vernacular vocabulary of De Player creates the possibilities of text-based navigation across the collection of items."}], "generates": [{"id": "19", "sentence": "For this he developed specific software that generates poetry in spoken-word form."}], "thesis": [{"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}], "MUSIC": [{"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}], "lead": [{"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "several": [{"id": "02", "sentence": "The result is a combination of several media, which all coexist in a designed concrete object."}, {"id": "02", "sentence": "It has a Raspberry Pi sits at its core, and is programmed for several applications."}, {"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "04", "sentence": "They are cheap dummy books, onto which he poured ink in several colors."}, {"id": "05", "sentence": "The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson has been part of DE PLAYER's programme with his quartet Fersteinn several times."}, {"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}, {"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "28", "sentence": "When we met we had discussions about several professional subjects and decided to realise a publication."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "32", "sentence": "To engage with this potential, De Player and Varia asked several artists to work with the tool and use the result as a starting point for a performance."}], "BUENNAGEL": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}], "Start": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "screaming": [{"id": "07", "sentence": "On the live oscilloscope concert Holzer states, 'The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "chat": [{"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}], "Ecology": [{"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}], "association": [{"id": "32", "sentence": "Navigating within the data structure of the archive becomes an act of score notation, and is thus based on subjective association and drifting."}], "Blossom": [{"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}], "Netherlands": [{"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "27", "sentence": "Both in active mines and in the abandoned mines and buildings surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "connects": [{"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}], "Margreet": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "mix": [{"id": "27", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}], "INFORMATIVE": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}], "facsimile": [{"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "Nordic": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "Potter": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "notable": [{"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "unknown": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}], "Bottle": [{"id": "24", "sentence": "Patrick Stump 'Curvy Cola Bottle Body' by Chico 'D.A.N.C.E."}], "typically": [{"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}], "Giulia": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "Elder": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "urn": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "counter-energy": [{"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}], "Notation": [{"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}], "accompanying": [{"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}, {"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}], "Icelandic": [{"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "This Icelandic quartet plays with little analogue instruments and animation scores Gunnarsson made on his computer."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}], "braunkohle": [{"id": "27", "sentence": "It's not iron ore but lignite, 'braunkohle'."}], "versions": [{"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}], "Bünnagel": [{"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne."}, {"id": "07", "sentence": "Julia Bünnagel was also invited, under the guise of contributing a more physical input."}], "processes": [{"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "15", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "24", "sentence": "His way of composing has a multimedia conceptual approach, which is mostly linked with processes in society."}, {"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}, {"id": "27", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope."}, {"id": "27", "sentence": "He also expanded his archive with all related logistic processes."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "32", "sentence": "The material is embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "Vaast": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "05", "sentence": "We have known Vaast Colson to be an interesting artist for quite some time already."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}, {"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "Principium' comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "There's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "But Vaast, for instance, refuses to regard it as his doing."}], "vulnerable": [{"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}], "Dress": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "unfolding": [{"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}], "while": [{"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}, {"id": "06", "sentence": "If something was interesting for a while, but didn't stay interesting, it had to go."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "look": [{"id": "06", "sentence": "Kris Delacourt: I do look at it as a solo thing."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}], "Kreidler": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "24", "sentence": "Johannes Kreidler is a special case when it comes to composing."}, {"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "24", "sentence": "According to Kreidler, the action, entitled 'Fremdarbeit', is intended to focus attention on the themes of exploitation and authorship."}, {"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}, {"id": "24", "sentence": "Johannes Kreidler is a composer and concept and media artist."}], "innovative": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "detected": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "site": [{"id": "06", "sentence": "DE PLAYER: The Ultra Eczema site refers to this record as your debut LP."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}], "transmutation": [{"id": "27", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}], "performance": [{"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "The 'E-ARTHHA' event is about the search for new interfaces and possibilities for sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}, {"id": "05", "sentence": "This can be a performance, an object, a book or whatever other form he settles on."}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "Were there people who actually listened to the whole eight-hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}, {"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}, {"id": "17", "sentence": "He is inspiring for a lot of performance-based composers."}, {"id": "19", "sentence": "For example, his work 'frakativ' is an electronic visual sound poetry performance."}, {"id": "19", "sentence": "The performance 'frikativ' is real-time generated visual and sound poetry."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "Instead of using traditional musical scores during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "She works with sound, video, installation and performance."}, {"id": "27", "sentence": "Currently, Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "29", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "32", "sentence": "Pushing Scores website launch and performance evening At the end of 2018, De Player approached Varia to develop a web-publication for their Pushing Scores project archive, which resulted in the current website."}, {"id": "32", "sentence": "To engage with this potential, De Player and Varia asked several artists to work with the tool and use the result as a starting point for a performance."}, {"id": "32", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "rap": [{"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}], "Home": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Era": [{"id": "07", "sentence": "On the live oscilloscope concert Holzer states, 'The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "TUNING": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}], "concert": [{"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "On the live oscilloscope concert Holzer states, 'The Vectorian Era opens with a screaming across the sky."}, {"id": "10", "sentence": "It was a good concert and her way of working fit into our ideas of exploring graphic scores very well."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}, {"id": "22", "sentence": "He also used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}], "milliseconds": [{"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}], "ERA": [{"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "Representing": [{"id": "12", "sentence": "Representing, 3."}], "fits": [{"id": "22", "sentence": "The idea of 'anitation' and the work of Guðmundur Steinn Gunnarsson fits perfectly within 'Pushing Scores'."}, {"id": "25", "sentence": "Ana Guedes' project 'UNTITLED RECORDS' fits into our idea of finding new ways to compose very seamlessly."}], "loud": [{"id": "31", "sentence": "A huge public announcement system was in the office blazing loud, but very articulated sound."}], "Sámi": [{"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "27", "sentence": "The Sámi have a lot of respect for nature."}], "friends": [{"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "Stump": [{"id": "24", "sentence": "Patrick Stump 'Curvy Cola Bottle Body' by Chico 'D.A.N.C.E."}], "identities": [{"id": "04", "sentence": "His studio work focuses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "His studio focuses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}], "double": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "costs": [{"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}], "fine-tuned": [{"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}], "Kunsthal": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "You": [{"id": "06", "sentence": "Kris Delacourt: You do it in short sessions, hah."}, {"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}, {"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "by Band Aid 'Do Without My Love' by Nathan [UK] 'Do You Know?"}, {"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}, {"id": "27", "sentence": "You have to take a boat to get there."}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "27", "sentence": "You can only survive there if you work with nature."}], "each": [{"id": "02", "sentence": "This is a magazine without any format, with the intention for a new one to be developed each time."}, {"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "Colson made two booklets in the 'Principium' series – comprised of reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "In this way you would end up with all different records, each one an original."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Peter brought six record players, matching the six colours of the vinyl nicely – two notes each."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}, {"id": "11", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "18", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "19", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "vinyls": [{"id": "06", "sentence": "It really was a one-time event, with the vinyls functioning as a tool, yes."}, {"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}], "Amy": [{"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}], "evoking": [{"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}], "F": [{"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}], "experiments": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "02", "sentence": "TGC#3 is a particular kind of publishing platform engineered for sonic experiments, instruments and installations."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "aestheticised": [{"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "peculiarity": [{"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}], "biotopes": [{"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}], "NOTING": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}], "Hilmar": [{"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "guide": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "05", "sentence": "What emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "deals": [{"id": "04", "sentence": "Every aspect of his work deals with the quality of sound."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}], "Darmstädt": [{"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}], "Varia": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "10", "sentence": "Varia will host the evening, and explain their ideas and approach to developing the archive."}, {"id": "29", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}, {"id": "29", "sentence": "Varia has developed a context and technical environment as a web-based archival publication."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "32", "sentence": "Pushing Scores website launch and performance evening At the end of 2018, De Player approached Varia to develop a web-publication for their Pushing Scores project archive, which resulted in the current website."}, {"id": "32", "sentence": "Varia contributed by developing an archival web publication where the vernacular vocabulary of De Player creates the possibilities of text-based navigation across the collection of items."}, {"id": "32", "sentence": "To engage with this potential, De Player and Varia asked several artists to work with the tool and use the result as a starting point for a performance."}, {"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}, {"id": "32", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}], "hip": [{"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}], "AU": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Jürgenson": [{"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "indictment": [{"id": "24", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}], "implosion": [{"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}], "satisfying": [{"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "EDITION": [{"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}], "military": [{"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "scripting": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "sacred": [{"id": "27", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "Product": [{"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}, {"id": "24", "sentence": "Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}], "Sreeuwenberg": [{"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}], "frakativ": [{"id": "19", "sentence": "For example, his work 'frakativ' is an electronic visual sound poetry performance."}], "Now": [{"id": "06", "sentence": "Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "band": [{"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}], "map": [{"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "27", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "27", "sentence": "Through soundwaves geologists are able to map what is underground."}], "Siobhan": [{"id": "24", "sentence": "Team 'Don't' by Elvis Presley With The Jordanaires 'Don't Dance' by Midas 'Don't Give It Up' by Siobhan Donaghy"}], "exchanges": [{"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "Scherzinger": [{"id": "24", "sentence": "Sandy 'Baby Fratelli' by The Fratellis 'Baby Love' by Nicole Scherzinger Feat."}], "Boy": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "confront": [{"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}], "my": [{"id": "06", "sentence": "Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "26", "sentence": "When the webs are harvested, my hand affects their original form."}, {"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}, {"id": "27", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "27", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "27", "sentence": "I'm always processing and refining my field recordings."}], "Yann": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}], "early-": [], "Team": [{"id": "24", "sentence": "Team 'Don't' by Elvis Presley With The Jordanaires 'Don't Dance' by Midas 'Don't Give It Up' by Siobhan Donaghy"}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "1983": [{"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "illustration": [{"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}], "80": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Except": [{"id": "27", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}], "They": [{"id": "04", "sentence": "They are intensified visual and audio perceptions in a specific space."}, {"id": "04", "sentence": "They are cheap dummy books, onto which he poured ink in several colors."}, {"id": "06", "sentence": "They were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "They're just new pieces in their own right."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}, {"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}, {"id": "26", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "27", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "30", "sentence": "They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}], "MgO": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Haan": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Bocelli": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "exploring": [{"id": "10", "sentence": "It was a good concert and her way of working fit into our ideas of exploring graphic scores very well."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "30", "sentence": "This not only counts for publishing but also for exploring new possibilities for artist practice in general."}], "Spectral": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "Spectral Arrows' is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "preparations": [{"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "extract": [{"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "compactly": [{"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}], "speculative": [{"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}], "generally": [{"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "27", "sentence": "It just turned out that way, perhaps because that's how we generally tend to structure material."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}], "inventors": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}], "Flanders": [{"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "creates": [{"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Software being processed creates its own temporal and spatial dimensions, which are staged for a public."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "24", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "32", "sentence": "Varia contributed by developing an archival web publication where the vernacular vocabulary of De Player creates the possibilities of text-based navigation across the collection of items."}, {"id": "32", "sentence": "The material is embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "theoretical": [{"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "Neiden": [{"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}], "10": [{"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "Kris Delacourt: The 10\" records have all been sold as well, so they sit somewhere in the middle."}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}], "update": [{"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}], "addition": [{"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}], "finished": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "So I don’t think I've quite finished with it, no."}], "HELGA": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}], "70": [{"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}], "millions": [{"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}], "von": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "tracing": [{"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}], "AT": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}], "approached": [{"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "27", "sentence": "Benny Nilsen approached us with his project 'ORE'."}, {"id": "32", "sentence": "Pushing Scores website launch and performance evening At the end of 2018, De Player approached Varia to develop a web-publication for their Pushing Scores project archive, which resulted in the current website."}], "practises": [{"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "Lumiere": [{"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}], "Dukalska": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}], "present": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "02", "sentence": "We worked around the ideas present in our 'Pushing Scores' project."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "23", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "27", "sentence": "The sound of the mine was always present."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}], "intellectual": [{"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "32", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}], "predictable": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}], "birth": [{"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}], "height": [{"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}], "Interestingly": [{"id": "06", "sentence": "Interestingly, he thought his resulting collages would be nice to use as scores – and they probably would have been."}], "OTHERS": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}], "Fall": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Baby": [{"id": "24", "sentence": "Justin Timberlake & Timbaland 'Baby Baby' by Sunblock feat."}, {"id": "24", "sentence": "Sandy 'Baby Fratelli' by The Fratellis 'Baby Love' by Nicole Scherzinger Feat."}, {"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}], "sine": [{"id": "06", "sentence": "I could have gone for something more 'correct' in terms of concept – I don't know, pure sine waves or something."}], "gip": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "relentless": [{"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "cards": [{"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "modified": [{"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "As mentioned, the first version was a modified Casio keyboard."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Julia's solo live performances primarily refer to the modified vinyl records that produce extraordinary sounds."}, {"id": "11", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "18", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}], "snowfall": [{"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}], "shapes": [{"id": "06", "sentence": "He then reassembled these line segments into new shapes and new lines."}, {"id": "06", "sentence": "Line segments which he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}], "Beware": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Quite": [{"id": "06", "sentence": "Quite the contrary, actually."}], "requires": [{"id": "06", "sentence": "Together, all twelve records form the complete set, which one 'game' requires."}, {"id": "22", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}], "issue": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "02", "sentence": "We proposed to the students that they devise an issue of our publication Tetra Gamma Circulaire."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB Records."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}], "at": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "It has a Raspberry Pi sits at its core, and is programmed for several applications."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "It was presented at Stadslimiet, Antwerp, as an installation piece on 2 Jul 2015."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "The interview was conducted after he exhibited 'Principium 2.0' in an installation setting at Stadslimiet, Antwerp."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "DE PLAYER: Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Kris Delacourt: Not really, at least not in this case."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it's own."}, {"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "Kris Delacourt: I do look at it as a solo thing."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}, {"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (of one or more people)."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "The work was installed for a period at The Small Museum – a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the 'Aalto Natives' at the Finnish Pavilion of the 57th Venice Biennale."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}, {"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}, {"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}, {"id": "24", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "27", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "27", "sentence": "The musique concrète, as developed by Henry at GRM, was made by magnetic tape."}, {"id": "27", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "27", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}, {"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "28", "sentence": "He is currently a sound designer at the Art Academy of Bologna, Italy."}, {"id": "28", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}, {"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}, {"id": "32", "sentence": "The material is embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}, {"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "bring": [{"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}, {"id": "27", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "27", "sentence": "In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it ."}], "guideline": [{"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the working process."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}], "capitalism": [{"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}], "platform": [{"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "02", "sentence": "TGC#3 is a particular kind of publishing platform engineered for sonic experiments, instruments and installations."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "19", "sentence": "He is also involved in the online poetry platform Huelkorven."}], "transposed": [{"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}], "Brianstorm": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "library": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "Pask": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "Sydvaranger": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}], "elementary": [{"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}], "Sweden": [{"id": "27", "sentence": "Both in active mines and in the abandoned mines and buildings surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}], "Ch": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "formations": [{"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "27", "sentence": "The north of Norway is one of the oldest rock formations in the world."}], "relay": [{"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}], "topic": [{"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}], "Gregorian": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "11", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "18", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}], "French": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}], "Anyway": [{"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}], "anitation": [{"id": "21", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "The idea of 'anitation' and the work of Guðmundur Steinn Gunnarsson fits perfectly within 'Pushing Scores'."}], "speculated": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "Keersemaker": [{"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}], "wrote": [{"id": "06", "sentence": "And since I'm a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}], "Douga": [{"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}], "subsequently": [{"id": "04", "sentence": "These books were the starting point for curating the event, which subsequently sat within our 'Pushing Scores' project."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}], "pieces": [{"id": "06", "sentence": "The final installation will have twelve separate pieces: A complete octave."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "They're just new pieces in their own right."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "10", "sentence": "By writing choreographies for software and computer elements, she utilises these technologies as actors in software/noise pieces for, and in, computers."}, {"id": "17", "sentence": "The 'Event Scores' of George Brecht are still actual pieces."}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}, {"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}, {"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "voiced": [{"id": "01", "sentence": "The work is voiced by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "The piece is voiced by Laetitia Saedier of Stereolab."}], "channels": [{"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "Tube": [{"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}], "multidimensional": [{"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}], "Willis": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "A": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "The final installation will have twelve separate pieces: A complete octave."}, {"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}, {"id": "07", "sentence": "On this evening, 'Resonanz' will be the starting point for a Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "For this evening event, 'Resonanz' will be the starting point of Q&A, demonstration and live presentation."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "A seventh note, 'si' or 'ti', was added later."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "24", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Patrick Stump 'Curvy Cola Bottle Body' by Chico 'D.A.N.C.E."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}, {"id": "31", "sentence": "A huge public announcement system was in the office blazing loud, but very articulated sound."}], "Tøyen": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "passes": [{"id": "26", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}], "dawn": [{"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "compression": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "interpretable": [{"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}], "sets": [{"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "compilation": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "stands": [{"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}], "Trans-acoustic": [{"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}], "mental": [{"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}], "DRIVE": [{"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}], "Broken": [{"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}], "photovoltaics": [{"id": "27", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics."}], "partners": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}], "provocative": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}], "Thirteen": [{"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Metrostation Maashaven."}], "useful": [{"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}], "north": [{"id": "27", "sentence": "The north of Norway is one of the oldest rock formations in the world."}], "deskilled": [{"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "ANA": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}], "programmable": [{"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}], "turntables": [{"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}], "coordinate": [{"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}], "puppet": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "fundament": [{"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}], "Smile": [{"id": "24", "sentence": "Shena 'Dark Road' by Annie Lennox 'Delivery' by Babyshambles 'Desecration Smile' by Red Hot Chili Peppers 'Destination Calabria' by Alex Gaudino feat."}], "Iron": [{"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}], "confrontational": [{"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}], "crackles": [{"id": "27", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}], "outputs": [{"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}], "mass": [{"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "31", "sentence": "From this perspective, his live performances can also be considered as black mass implosions."}], "controlling": [{"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "areas": [{"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "27", "sentence": "Both in active mines and in the abandoned mines and buildings surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "27", "sentence": "That's why I wanted to have a thread about the regeneration of mining areas."}, {"id": "27", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}], "emphasising": [{"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}], "sedimentologists": [{"id": "27", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}], "games": [{"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "to": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp-based artists to contribute to the project."}, {"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media to this day."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Some dare to say that it’s a kind of jukebox."}, {"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "02", "sentence": "We proposed to the students that they devise an issue of our publication Tetra Gamma Circulaire."}, {"id": "02", "sentence": "This is a magazine without any format, with the intention for a new one to be developed each time."}, {"id": "02", "sentence": "Each student had to develop their own project around the process of making a score."}, {"id": "02", "sentence": "All these scores then had to come together in one magazine/object."}, {"id": "02", "sentence": "One restriction was decided upon: The scores had to be presented on floppy disc."}, {"id": "02", "sentence": "This was put in place to both limit possibilities and to unite the format."}, {"id": "02", "sentence": "‘Fred Flintstone meets the twenty-first century’, it was referred to as."}, {"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "It’s not a matter of an event between spectators and a musician– it’s a space to submit to a process."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}, {"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}, {"id": "05", "sentence": "We have known Vaast Colson to be an interesting artist for quite some time already."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "05", "sentence": "This print run is to be seen as a performative action."}, {"id": "05", "sentence": "It is a complex work that nevertheless manages to remain simple and accessible in its final execution."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be referred to as 'post-ironic'."}, {"id": "05", "sentence": "Colson's works examine core questions: What power does art have to change us and our society?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "He opens up the artistic field to explore what is happening in the art world."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}, {"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "He was intrigued by the invitation, but it took a long time to develop."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "Interestingly, he thought his resulting collages would be nice to use as scores – and they probably would have been."}, {"id": "06", "sentence": "to him."}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "It just rang as very poetic to me."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "It's meant to be in a continued state of flux."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to Morse code."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job designing the packaging."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, which determines the rhythm."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "That's quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn't stay interesting, it had to go."}, {"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole eight-hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "But it's still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "But Vaast, for instance, refuses to regard it as his doing."}, {"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "DE PLAYER: The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "06", "sentence": "Kris Delacourt: If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}, {"id": "07", "sentence": "Julia's solo live performances primarily refer to the modified vinyl records that produce extraordinary sounds."}, {"id": "07", "sentence": "To complete the event we searched for two completely different approaches to composition."}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "08", "sentence": "We decided to envision the framework for the installation as a three-dimensional staff to write down music."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "However, it was decided to start from the floppy disc as a medium."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the working process."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpart to his own musical input."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "10", "sentence": "Varia will host the evening, and explain their ideas and approach to developing the archive."}, {"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "It was particularly of interested to us because of the way in which he focuses on the reproduction of music."}, {"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}, {"id": "12", "sentence": "It refers to the era of printed music (1500–1900)."}, {"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "13", "sentence": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}, {"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "14", "sentence": "It completely complimented our thinking around how to imagine the concept of composing and making scores."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "In the early 1960s, the composer Morton Subotnik employed engineer Don Buchla to help him create 'the music of the future'."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "19", "sentence": "For 'Pushing Scores', we invited him to make special work for a limited edition."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}, {"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "20", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "20", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "20", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}, {"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "21", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "He also used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "23", "sentence": "Before God needed to be invented there were man."}, {"id": "24", "sentence": "Johannes Kreidler is a special case when it comes to composing."}, {"id": "24", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}, {"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}, {"id": "24", "sentence": "According to Kreidler, the action, entitled 'Fremdarbeit', is intended to focus attention on the themes of exploitation and authorship."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}, {"id": "24", "sentence": "This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}, {"id": "25", "sentence": "Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}, {"id": "25", "sentence": "Ana Guedes' project 'UNTITLED RECORDS' fits into our idea of finding new ways to compose very seamlessly."}, {"id": "25", "sentence": "Because she uses and records the archive, the end result almost turns out to be a DJ set."}, {"id": "25", "sentence": "This 'other way' to come to sound is an interesting phenomenon."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "26", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "26", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "27", "sentence": "It doesn't relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "27", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "27", "sentence": "That's why I wanted to have a thread about the regeneration of mining areas."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "One is the waste you make to get to the ore."}, {"id": "27", "sentence": "If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "27", "sentence": "It is important for companies to manage this."}, {"id": "27", "sentence": "It just turned out that way, perhaps because that's how we generally tend to structure material."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "It's absurd when you start to think about it."}, {"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "27", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "27", "sentence": "You have to take a boat to get there."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "27", "sentence": "I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "It's good for the human psyche to be reminded of that."}, {"id": "27", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "27", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "27", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "27", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "27", "sentence": "Through soundwaves geologists are able to map what is underground."}, {"id": "27", "sentence": "There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "27", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "27", "sentence": "All to get to the desired result: The gold!"}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}, {"id": "28", "sentence": "When we met we had discussions about several professional subjects and decided to realise a publication."}, {"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}, {"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}, {"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}, {"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}, {"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}, {"id": "32", "sentence": "Pushing Scores website launch and performance evening At the end of 2018, De Player approached Varia to develop a web-publication for their Pushing Scores project archive, which resulted in the current website."}, {"id": "32", "sentence": "To engage with this potential, De Player and Varia asked several artists to work with the tool and use the result as a starting point for a performance."}, {"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}, {"id": "32", "sentence": "Robert Kroos made a setup that enabled him to respond to a multitude of parameters."}, {"id": "32", "sentence": "He used a guzheng as a basis and then contact microphones to manipulate the sounds with software."}, {"id": "32", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "32", "sentence": "It invited anyone to follow simple instructions to create a spatial representation of different people's individual navigations through the archive."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "area": [{"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}, {"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}, {"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "27", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "29", "sentence": "It is based in Rotterdam in the same area that we operate in."}], "Symphony": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "RECORDS": [{"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "25", "sentence": "Ana Guedes' project 'UNTITLED RECORDS' fits into our idea of finding new ways to compose very seamlessly."}], "Reijnoudt": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "dissent": [{"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "deck": [{"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}], "treat": [{"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}], "Master": [{"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}], "combinations": [{"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}], "cut": [{"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}], "group": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}], "Cushh": [{"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}], "ready": [{"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}], "Jennifer": [{"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}], "Angeles": [{"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}], "filmmaking": [{"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}], "founding": [{"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "and took part in founding its festival Sláturtíð."}], "up": [{"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "05", "sentence": "He opens up the artistic field to explore what is happening in the art world."}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "In this way you would end up with all different records, each one an original."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to Morse code."}, {"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process as navigating its actualisation."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "That's just another way of letting things go, of giving up control."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "13", "sentence": "The entire 'Pushing Scores' project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "Remco van Bladel grew up in the record store of his father."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "21", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "27", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "So much time is compressed in this material and it's burned up in minutes."}, {"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "27", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "27", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "27", "sentence": "Were they forced up North by circumstances?"}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}], "recognition": [{"id": "20", "sentence": "In a multicultural situation, abstract sounds are forms of recognition; then there is, for example, music."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}], "Tonight": [{"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}], "inside": [{"id": "11", "sentence": "An interactive graphic score/light box/kinetic work fixed inside the cabinet, and 2."}, {"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "Zen": [{"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}], "Rhizome": [{"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "sonore": [{"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "20", "sentence": "Inspiration comes in the form of vocal poetry, 'poésie sonore' and text-sound composition."}], "LIERMAN": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}], "coloured": [{"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}, {"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}], "Billiam": [{"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}], "full": [{"id": "06", "sentence": "As mentioned, this is the short version, can you give me the full story?"}, {"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "27", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}], "remoteness": [{"id": "27", "sentence": "I am drawn to the Arctic as a sound person because of its relative remoteness."}], "Forever": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "society": [{"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: What power does art have to change us and our society?"}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "24", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "24", "sentence": "His way of composing has a multimedia conceptual approach, which is mostly linked with processes in society."}, {"id": "27", "sentence": "In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it ."}], "loss": [{"id": "26", "sentence": "The sonification of spider webs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}], "Fratelli": [{"id": "24", "sentence": "Sandy 'Baby Fratelli' by The Fratellis 'Baby Love' by Nicole Scherzinger Feat."}], "MATA": [{"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "possible": [{"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}], "dancers": [{"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "32", "sentence": "Christine Cornwell is a composer and violinist working between NL/UK with projects involving improvisation and collaborative work often combined with visual artists, dancers, opera companies or experimental TV."}], "aura": [{"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "Theodore": [{"id": "27", "sentence": "Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34."}], "ironic": [{"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be referred to as 'post-ironic'."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "Each": [{"id": "02", "sentence": "Each student had to develop their own project around the process of making a score."}, {"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}], "knowing": [{"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}], "Contributors": [{"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}], "working": [{"id": "04", "sentence": "JUSTIN BENNETT (UK) Justin Bennett is an artist working with sound and visual media."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the working process."}, {"id": "10", "sentence": "It was a good concert and her way of working fit into our ideas of exploring graphic scores very well."}, {"id": "13", "sentence": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}, {"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}, {"id": "27", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "27", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "32", "sentence": "Robert Kroos (aka Duckfood) is a Rotterdam based musician, sound-artist and DJ working on all kinds of sound- and music related projects."}, {"id": "32", "sentence": "Christine Cornwell is a composer and violinist working between NL/UK with projects involving improvisation and collaborative work often combined with visual artists, dancers, opera companies or experimental TV."}], "petalite": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "During": [{"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "21", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "29", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "32", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}], "choreographed": [{"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}], "banal": [{"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "gov": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "leading": [{"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}, {"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}], "designed": [{"id": "02", "sentence": "The result is a combination of several media, which all coexist in a designed concrete object."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "13", "sentence": "He designed the publication and identity of the 'Aalto Natives' at the Finnish Pavilion of the 57th Venice Biennale."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}], "vs": [{"id": "24", "sentence": "Timbaland 'Another One Bites The Dust' by Queen vs."}], "Here": [{"id": "20", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}], "Calvin": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "harvested": [{"id": "26", "sentence": "When the webs are harvested, my hand affects their original form."}, {"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}], "geology": [{"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "27", "sentence": "It doesn't relate directly to mining, but it extends the project to include geology, deep time and stone."}], "above": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}], "Publishing": [{"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "20", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}], "Oil": [{"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}], "Again": [{"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}], "mined": [{"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}], "examples": [{"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}], "Proclaimers": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "hematite": [{"id": "27", "sentence": "We can see layers of hematite."}], "v3": [{"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}], "income": [{"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}], "Street": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}], "Jonas": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "close": [{"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to Morse code."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "19", "sentence": "Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}], "inserted": [{"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}], "likened": [{"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "26", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}], "Stockhausen": [{"id": "13", "sentence": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}], "groups": [{"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "mind": [{"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "11", "sentence": "The invitation was perfectly suited for a project in public space that he had in mind for 'Pushing Scores'."}], "fascinates": [{"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}], "03": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "fact": [{"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "30", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}], "Be": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}, {"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}], "recognise": [{"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}], "tools": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "serve": [{"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}], "accessible": [{"id": "05", "sentence": "It is a complex work that nevertheless manages to remain simple and accessible in its final execution."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "32", "sentence": "The material is embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "Dancefloor": [{"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}], "ve": [{"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "So I don’t think I've quite finished with it, no."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}], "am": [{"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "I guess I am aiming for the best of both worlds there."}, {"id": "27", "sentence": "I am drawn to the Arctic as a sound person because of its relative remoteness."}], "thermal": [{"id": "29", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}], "otherworldly": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}], "enlarged": [{"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}], "phi001": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "participate": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}], "Pipkin": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "David": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}, {"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}], "DIVERSE": [{"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}], "Hot": [{"id": "24", "sentence": "Shena 'Dark Road' by Annie Lennox 'Delivery' by Babyshambles 'Desecration Smile' by Red Hot Chili Peppers 'Destination Calabria' by Alex Gaudino feat."}], "Hard-Fi": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "choose": [{"id": "06", "sentence": "Kris Delacourt: If you force me to choose between those two, then drone."}], "bunkers": [{"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "board": [{"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It's an iron board and it has the same visuals as the sticker sheets."}], "under": [{"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "07", "sentence": "Julia Bünnagel was also invited, under the guise of contributing a more physical input."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}, {"id": "27", "sentence": "It is a base of hard rock under the water with different layers of material."}], "curatorial": [{"id": "04", "sentence": "His studio work focuses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "His studio focuses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}], "playback": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}], "instructions": [{"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "21", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "Instead of using traditional musical scores during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "32", "sentence": "It invited anyone to follow simple instructions to create a spatial representation of different people's individual navigations through the archive."}], "adds": [{"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}], "sampled": [{"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}], "right": [{"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "They're just new pieces in their own right."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}], "repetitions": [{"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}], "release": [{"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "They were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}, {"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}], "caverns": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}], "1978": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}], "humans": [{"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}], "circular": [{"id": "26", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}], "decoding": [{"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}], "ART": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}], "Two": [{"id": "06", "sentence": "Well, a little… Two years, actually."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}], "store": [{"id": "13", "sentence": "Remco van Bladel grew up in the record store of his father."}, {"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}], "composer": [{"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "In the early 1960s, the composer Morton Subotnik employed engineer Don Buchla to help him create 'the music of the future'."}, {"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "22", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "24", "sentence": "Johannes Kreidler is a composer and concept and media artist."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "32", "sentence": "Christine Cornwell is a composer and violinist working between NL/UK with projects involving improvisation and collaborative work often combined with visual artists, dancers, opera companies or experimental TV."}], "article": [{"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}], "cheironomy": [{"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}], "Paradiso": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "11", "sentence": "The work was installed for a period at The Small Museum – a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}], "electricity": [{"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "renderings": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}], "Orientation": [{"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}], "projection": [{"id": "04", "sentence": "For this event he will work with a film projection and a synthesizer, which he influences with his brainwaves."}, {"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}, {"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}], "propose": [{"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}], "Musical": [{"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}], "further": [{"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}], "President": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}], "Lithium": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "referred": [{"id": "02", "sentence": "‘Fred Flintstone meets the twenty-first century’, it was referred to as."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be referred to as 'post-ironic'."}], "sort": [{"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "10", "sentence": "Her score was made on the spot with programming language; a sort of live coding."}, {"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}], "live-made": [{"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}], "denies": [{"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}], "Art": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "06", "sentence": "Art is letting things go, let it flow."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "28", "sentence": "He is currently a sound designer at the Art Academy of Bologna, Italy."}], "pen": [{"id": "26", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}], "November": [{"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "Aug": [{"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}], "execution": [{"id": "05", "sentence": "It is a complex work that nevertheless manages to remain simple and accessible in its final execution."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "13", "sentence": "This encompasses the conceptualisation, the funding and the execution."}], "indeed": [{"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}], "Zealand": [{"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}], "1981": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "Kittler": [{"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}], "similarities": [{"id": "13", "sentence": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}], "Tinna": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "operates": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}], "positions": [{"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}], "WdW": [{"id": "04", "sentence": "He is also an art book publisher (Onomatopee, Eindhoven, and WdW Review, Rotterdam)."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}], "complexity": [{"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}], "design": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "04", "sentence": "His studio work focuses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "13", "sentence": "His studio focuses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "27", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "29", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}, {"id": "32", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}], "qualities": [{"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "old": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}, {"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "27", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}], "competition": [{"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}], "Any": [{"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}], "off": [{"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "20", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "2-3": [{"id": "32", "sentence": "The project investigated the state of the arts of composing scores in a contemporary environment and spanned over 2-3 years."}], "restriction": [{"id": "02", "sentence": "One restriction was decided upon: The scores had to be presented on floppy disc."}], "Rowan": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "defective": [{"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}], "Song": [{"id": "24", "sentence": "The Ping Pong Song)' by Enrique Iglesias 'Doing It Right' by The Go!"}, {"id": "30", "sentence": "They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "practitioner": [{"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}], "Alfie": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "ROZENDAAL": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "RAFAËL ROZENDAAL (NL) Rafaël Rozendaal is a visual artist who uses the Internet as his canvas."}], "Even": [{"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}], "Geologists": [{"id": "27", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "27", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}], "flecked": [{"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}], "practical": [{"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "27", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}], "slow": [{"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}], "atmosphere": [{"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}], "legal": [{"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}], "previously": [{"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}], "chain": [{"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}], "interest": [{"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "32", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}], "WORKSHOP": [{"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}], "https": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "constitutes": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}], "Eckehard": [{"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}], "manifesting": [{"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "Tell": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "practices": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}], "gained": [{"id": "21", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained."}], "BE": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "FLORIS VANHOOF (BE) Floris Vanhoof is a filmmaker and musician from Belgium."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}], "doubts": [{"id": "06", "sentence": "Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts."}], "notation": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "Throughout 2016, 2017 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on, this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "21", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "21", "sentence": "This means animated notation."}, {"id": "22", "sentence": "Anitation' is the term for animated notation."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "23", "sentence": "Emptiness has that same relation with notation."}, {"id": "26", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "32", "sentence": "Navigating within the data structure of the archive becomes an act of score notation, and is thus based on subjective association and drifting."}], "responsible": [{"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}], "roster": [{"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}], "Books": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Oscilloscope": [{"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}], "08": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "navigation": [{"id": "32", "sentence": "Varia contributed by developing an archival web publication where the vernacular vocabulary of De Player creates the possibilities of text-based navigation across the collection of items."}], "Clumsy": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "consonants": [{"id": "19", "sentence": "Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}], "book": [{"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "04", "sentence": "He is also an art book publisher (Onomatopee, Eindhoven, and WdW Review, Rotterdam)."}, {"id": "04", "sentence": "His studio work focuses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "05", "sentence": "This can be a performance, an object, a book or whatever other form he settles on."}, {"id": "07", "sentence": "TELCOSYSTEMS (NL) Telcosystems presents 'Resonanz', an electronic book combining a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "With 'Resonanz', Telcosystems presents an electronic book that combines a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Resonanz' is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}, {"id": "13", "sentence": "His studio focuses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "Australia": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}], "Christina": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "claimed": [{"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "Koolmees": [{"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}], "though": [{"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "practitioners": [{"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}], "contain": [{"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}], "packaging": [{"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job designing the packaging."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}], "TELCOSYSTEMS": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "TELCOSYSTEMS (NL) Telcosystems presents 'Resonanz', an electronic book combining a series of visual artworks and a sound publication."}], "ingredients": [{"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}], "herman": [{"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}], "happen": [{"id": "27", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}], "Public": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "deliberately": [{"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}], "Development": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}], "prophetic": [{"id": "12", "sentence": "At the time of writing it would have been quite prophetic."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}], "Valentino": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "remove": [{"id": "27", "sentence": "If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste."}], "imagery": [{"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "30", "sentence": "This one is a pretty contemporary example and results in great imagery and sound."}], "dummy": [{"id": "04", "sentence": "They are cheap dummy books, onto which he poured ink in several colors."}], "Trilogy": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "visible": [{"id": "09", "sentence": "Transmitted through a beamer and an audio system, everything becomes visible and audible."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "26", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}], "precisely": [{"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}], "transformed": [{"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}], "theme": [{"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}], "infers": [{"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}], "Belgium": [{"id": "04", "sentence": "FLORIS VANHOOF (BE) Floris Vanhoof is a filmmaker and musician from Belgium."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}], "yes": [{"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "Kris Delacourt: There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "It really was a one-time event, with the vinyls functioning as a tool, yes."}], "studies": [{"id": "27", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}], "AND": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}], "earthquakes": [{"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}], "Hackaday": [{"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "market": [{"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}], "aka": [{"id": "32", "sentence": "Robert Kroos (aka Duckfood) is a Rotterdam based musician, sound-artist and DJ working on all kinds of sound- and music related projects."}], "dematerialisation": [{"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}], "concentration": [{"id": "06", "sentence": "That's quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "sound-text": [{"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}], "indignation": [{"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "anime": [{"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}], "Nordlichter": [{"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "L": [{"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}], "enchants": [{"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}], "D": [{"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "24", "sentence": "Patrick Stump 'Curvy Cola Bottle Body' by Chico 'D.A.N.C.E."}], "wolframite": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "ball": [{"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}], "grown": [{"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}], "felt": [{"id": "06", "sentence": "Yet I felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "place": [{"id": "02", "sentence": "This was put in place to both limit possibilities and to unite the format."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "26", "sentence": "Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "It is a vast scar in the landscape, and really an incredible place."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}], "other": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}, {"id": "05", "sentence": "This can be a performance, an object, a book or whatever other form he settles on."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}, {"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}, {"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "This 'other way' to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "27", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "Harris": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Franklin": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "As another example, Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "27", "sentence": "Mining' by BJ Nilsen, 'Jazz' by Max Franklin and 'Earthquake' by Aurelie Lierman."}], "Therefore": [{"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}], "produces": [{"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}], "Jordanaires": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Team 'Don't' by Elvis Presley With The Jordanaires 'Don't Dance' by Midas 'Don't Give It Up' by Siobhan Donaghy"}], "poisonous": [{"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}], "specialising": [{"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}], "China": [{"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}], "Romanticism": [{"id": "27", "sentence": "Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34."}], "Kahn": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}, {"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "27", "sentence": "Currently, Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "27", "sentence": "For this event, Kahn did some kind of improvisation session on the works of the three invited artists."}], "timelines": [{"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}], "sticky": [{"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}], "co-founder": [{"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}], "losing": [{"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}], "territory": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}], "Killers": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "facilitate": [{"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}], "Serduchka": [{"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}], "implosions": [{"id": "31", "sentence": "From this perspective, his live performances can also be considered as black mass implosions."}], "Bart": [{"id": "23", "sentence": "Before the song there was the yodel,' As Bart Plantenga stated in his reading on yodeling."}], "artwork": [{"id": "06", "sentence": "Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}], "musicians": [{"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "21", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "Instead of using traditional musical scores during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "blast": [{"id": "27", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}], "Lennox": [{"id": "24", "sentence": "Shena 'Dark Road' by Annie Lennox 'Delivery' by Babyshambles 'Desecration Smile' by Red Hot Chili Peppers 'Destination Calabria' by Alex Gaudino feat."}], "probably": [{"id": "06", "sentence": "Interestingly, he thought his resulting collages would be nice to use as scores – and they probably would have been."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}], "Pistols": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "teaches": [{"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}], "Detmold": [{"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}], "beautifully": [{"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}], "organising": [{"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}], "tantalum": [{"id": "27", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics."}], "influenced": [{"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}], "bit": [{"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "27", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}], "mill": [{"id": "27", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}], "Clean": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Slow": [{"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}], "interaction": [{"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (of one or more people)."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "completing": [{"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}], "forcing": [{"id": "19", "sentence": "Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}], "draw": [{"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}], "vinyl": [{"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "Peter brought six record players, matching the six colours of the vinyl nicely – two notes each."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "How do you perceive the function a piece of vinyl can have?"}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "07", "sentence": "Julia's solo live performances primarily refer to the modified vinyl records that produce extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}, {"id": "07", "sentence": "All had worked with the medium of the vinyl record and added a new use/application."}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}, {"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "33rpm": [{"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}], "demands": [{"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}], "Moholy-Nagy": [{"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}], "chosen": [{"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "guitar": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "Spectral Arrows' is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "motion": [{"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}], "pit": [{"id": "27", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}], "Silver": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "bushes": [{"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "theorist": [{"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}], "People": [{"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "30", "sentence": "People who make black MIDIs are known as 'blackers'."}, {"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}], "time": [{"id": "02", "sentence": "This is a magazine without any format, with the intention for a new one to be developed each time."}, {"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}, {"id": "05", "sentence": "We have known Vaast Colson to be an interesting artist for quite some time already."}, {"id": "06", "sentence": "He was intrigued by the invitation, but it took a long time to develop."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}, {"id": "06", "sentence": "It really was a one-time event, with the vinyls functioning as a tool, yes."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}, {"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}, {"id": "10", "sentence": "Vuksic considers the time and space of computer processing and memory as levels of reality."}, {"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "At the time of writing it would have been quite prophetic."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "19", "sentence": "The performance 'frikativ' is real-time generated visual and sound poetry."}, {"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}, {"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "27", "sentence": "The composition follows a more or less linear path, starting with 'deep' time."}, {"id": "27", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "27", "sentence": "It doesn't relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "27", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "The composition follows a more or less linear path – starting with deep time."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "So much time is compressed in this material and it's burned up in minutes."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}, {"id": "27", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "motto": [{"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}], "inductive": [{"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called 'telephone adapters'."}], "occupied": [{"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}], "We": [{"id": "02", "sentence": "We proposed to the students that they devise an issue of our publication Tetra Gamma Circulaire."}, {"id": "02", "sentence": "We worked around the ideas present in our 'Pushing Scores' project."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "05", "sentence": "We have known Vaast Colson to be an interesting artist for quite some time already."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "06", "sentence": "We first encountered 'Principium 1.0'."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "08", "sentence": "We decided to envision the framework for the installation as a three-dimensional staff to write down music."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "20", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "22", "sentence": "We also produced a limited polyurethane record with Fersteinn."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "27", "sentence": "We can see layers of hematite."}, {"id": "27", "sentence": "We have a tunnel that leads there."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}, {"id": "31", "sentence": "We got in touch with Marco Fusinato through our '8-INCH' series."}], "test": [{"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to Morse code."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the working process."}, {"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "27", "sentence": "This was part of a test production of around 30,000 tons."}], "Give": [{"id": "24", "sentence": "Team 'Don't' by Elvis Presley With The Jordanaires 'Don't Dance' by Midas 'Don't Give It Up' by Siobhan Donaghy"}], "sleeves": [{"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}], "multi-vocal": [{"id": "11", "sentence": "For this multi-vocal composition, Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}], "Kagel": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}], "devoid": [{"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}], "gesture": [{"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}, {"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "Maccabees": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Kris": [{"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "Kris Delacourt)."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "This is an interview with Kris Delacourt (Remörk) on his practice and the 'Principium' story."}, {"id": "06", "sentence": "Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "Kris Delacourt: Oh, I think it's definitely something that's still evolving."}, {"id": "06", "sentence": "Kris Delacourt: Not really, at least not in this case."}, {"id": "06", "sentence": "Kris Delacourt: You do it in short sessions, hah."}, {"id": "06", "sentence": "Kris Delacourt: There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "06", "sentence": "Kris Delacourt: The 10\" records have all been sold as well, so they sit somewhere in the middle."}, {"id": "06", "sentence": "Kris Delacourt: I do look at it as a solo thing."}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "06", "sentence": "Kris Delacourt: If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "Kris Delacourt: I certainly do hope that it's enjoyable."}], "consists": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "11", "sentence": "The work consists of two parts: 1."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "28", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}], "spinning": [{"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}], "alone": [{"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "economy": [{"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}], "studied": [{"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}, {"id": "24", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}], "JAKOBSON": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}], "happening": [{"id": "05", "sentence": "He opens up the artistic field to explore what is happening in the art world."}], "visitors": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}], "provided": [{"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}], "cacti": [{"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "Johansson": [{"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}], "zine": [{"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "05", "sentence": "The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself."}], "documenting": [{"id": "06", "sentence": "Yet I felt like making another interpretation of an existing piece, instead of merely documenting it."}], "dating": [{"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}], "ecology": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}], "electro-instrumental": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "realised": [{"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}], "1": [{"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "We first encountered 'Principium 1.0'."}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "11", "sentence": "The work consists of two parts: 1."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages throughout its history: 1."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "undergoing": [{"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}], "pointing": [{"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}], "influence": [{"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "27", "sentence": "How much influence does it have on a community?"}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}], "Borders": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Seal": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "complimentary": [{"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}], "screens": [{"id": "22", "sentence": "This often requires presenting the music as moving graphics on computer screens."}], "within": [{"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "04", "sentence": "These books were the starting point for curating the event, which subsequently sat within our 'Pushing Scores' project."}, {"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "08", "sentence": "The initiatives gather within a part of the programme called 'Intersections'."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it's use as a technology within her work."}, {"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "It was an investigation into methodologies within his own artistic practice."}, {"id": "22", "sentence": "The idea of 'anitation' and the work of Guðmundur Steinn Gunnarsson fits perfectly within 'Pushing Scores'."}, {"id": "24", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}, {"id": "32", "sentence": "Navigating within the data structure of the archive becomes an act of score notation, and is thus based on subjective association and drifting."}], "exploration": [{"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}], "ORE": [{"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}, {"id": "27", "sentence": "Benny Nilsen approached us with his project 'ORE'."}], "stasis": [{"id": "27", "sentence": "Those recordings symbolise the stasis of time."}], "electroacoustic": [{"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}], "Cat": [{"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}], "stressed": [{"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}], "proposed": [{"id": "02", "sentence": "We proposed to the students that they devise an issue of our publication Tetra Gamma Circulaire."}], "Niek": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "29", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}, {"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}, {"id": "32", "sentence": "Niek built an interactive installation, which can be summarized as a portable music staff where the actual scores/notes were hung on like a washing line."}, {"id": "32", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}], "impossible": [{"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "traditions": [{"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "26", "sentence": "Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}], "activities": [{"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "27", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope."}], "electromagnetic": [{"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}], "dystopias": [{"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}], "Jan": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "16", "sentence": "Derek Holzer was invited for the event 'PUSHING' on 20 Jan 2017."}], "end": [{"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "In this way you would end up with all different records, each one an original."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to Morse code."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "25", "sentence": "Because she uses and records the archive, the end result almost turns out to be a DJ set."}, {"id": "30", "sentence": "The end titles of many black MIDI videos display how many notes are in the piece."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "32", "sentence": "Pushing Scores website launch and performance evening At the end of 2018, De Player approached Varia to develop a web-publication for their Pushing Scores project archive, which resulted in the current website."}], "writings": [{"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "27", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}], "reveal": [{"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}], "Ståhl": [{"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}], "people": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "Were there people who actually listened to the whole eight-hour performance?"}, {"id": "06", "sentence": "Kris Delacourt: There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (of one or more people)."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "27", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them ."}, {"id": "27", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}, {"id": "32", "sentence": "It invited anyone to follow simple instructions to create a spatial representation of different people's individual navigations through the archive."}], "unexplored": [{"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}], "Reykjavík": [{"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}], "copyright": [{"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}], "parks": [{"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "Noise": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}], "continuously": [{"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}], "Chokehold": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "headphones": [{"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}], "rest": [{"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "27", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}], "disks": [{"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}], "beam": [{"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "Hang": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "original": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "Principium 2.0' is then another piece in step with the principle of Colson's original 'Principium'."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "In this way you would end up with all different records, each one an original."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "26", "sentence": "When the webs are harvested, my hand affects their original form."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "31", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "Arrows": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "Spectral Arrows' is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "matrix": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}], "mention": [{"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job designing the packaging."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}], "plants": [{"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}], "once": [{"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}], "auditive": [{"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}], "mythology": [{"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "26", "sentence": "Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}], "Armageddon": [{"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}], "chamber": [{"id": "22", "sentence": "It results in very delicate and unconventional chamber music."}], "speakers": [{"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}], "Investigation": [{"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "Con": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Choir": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "FLOPPY": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}], "nicely": [{"id": "06", "sentence": "Peter brought six record players, matching the six colours of the vinyl nicely – two notes each."}], "phrase": [{"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}], "multiplexed": [{"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}], "something": [{"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to Morse code."}, {"id": "06", "sentence": "So the C note runs for tens minutes and the B note is something like five minutes and twenty seconds."}, {"id": "06", "sentence": "Kris Delacourt: Oh, I think it's definitely something that's still evolving."}, {"id": "06", "sentence": "There's something appealing in using a single octave as a building block."}, {"id": "06", "sentence": "There’s something appealing in the number twelve even, and there's the appeal of building instruments too."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "06", "sentence": "If something was interesting for a while, but didn't stay interesting, it had to go."}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "06", "sentence": "I could have gone for something more 'correct' in terms of concept – I don't know, pure sine waves or something."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "23", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "27", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}], "Red": [{"id": "24", "sentence": "Shena 'Dark Road' by Annie Lennox 'Delivery' by Babyshambles 'Desecration Smile' by Red Hot Chili Peppers 'Destination Calabria' by Alex Gaudino feat."}], "middle": [{"id": "06", "sentence": "Kris Delacourt: The 10\" records have all been sold as well, so they sit somewhere in the middle."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}], "million": [{"id": "04", "sentence": "His websites attract a large audience of over forty million unique visits per year."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}], "next": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "Paris": [{"id": "10", "sentence": "The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}, {"id": "27", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}], "instrumentalisation": [{"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}], "99": [{"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}], "Prins": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "Pliny": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "someone": [{"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}], "long": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Just so you can see them day and night, for roughly three weeks long."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "06", "sentence": "He was intrigued by the invitation, but it took a long time to develop."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Holzer often works through a long, rigorous process of self-education in electronics."}, {"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "31", "sentence": "Spectral Arrows' is an ongoing series of long-duration performances for guitar and electronics."}], "inserting": [{"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}], "Bed": [{"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}], "Next": [{"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}], "delve": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}], "belief": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}], "BBC": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "Bites": [{"id": "24", "sentence": "Timbaland 'Another One Bites The Dust' by Queen vs."}], "Navigating": [{"id": "32", "sentence": "Navigating within the data structure of the archive becomes an act of score notation, and is thus based on subjective association and drifting."}], "text-based": [{"id": "32", "sentence": "Varia contributed by developing an archival web publication where the vernacular vocabulary of De Player creates the possibilities of text-based navigation across the collection of items."}], "base": [{"id": "27", "sentence": "It is a base of hard rock under the water with different layers of material."}], "moths": [{"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "main": [{"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}], "Bleed": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "control": [{"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, which determines the rhythm."}, {"id": "06", "sentence": "That's just another way of letting things go, of giving up control."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "H2O": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "plate": [{"id": "05", "sentence": "The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself."}, {"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}], "Christmas": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}], "invents": [{"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}], "reinterpretation": [{"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}], "Science": [{"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "psyche": [{"id": "27", "sentence": "It's good for the human psyche to be reminded of that."}], "detail": [{"id": "04", "sentence": "At every level of detail, the everyday sound of our urban surroundings is the focus of his work."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}], "vocal": [{"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "11", "sentence": "For this multi-vocal composition, Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "20", "sentence": "Inspiration comes in the form of vocal poetry, 'poésie sonore' and text-sound composition."}], "Helga": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}], "process": [{"id": "02", "sentence": "Each student had to develop their own project around the process of making a score."}, {"id": "04", "sentence": "It’s not a matter of an event between spectators and a musician– it’s a space to submit to a process."}, {"id": "05", "sentence": "What emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process as navigating its actualisation."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the working process."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "15", "sentence": "Holzer often works through a long, rigorous process of self-education in electronics."}, {"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}, {"id": "26", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "27", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}, {"id": "30", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}], "size": [{"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}], "experience": [{"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}], "infinite": [{"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}], "marking": [{"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}], "mainly": [{"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "28", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}], "holds": [{"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}], "apparatuses": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}], "AURÉLIE": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}], "Nine": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Editors": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Mineral": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Johnson": [{"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}], "Band": [{"id": "24", "sentence": "by Band Aid 'Do Without My Love' by Nathan [UK] 'Do You Know?"}], "retro-for-retro": [{"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}], "bars": [{"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "musician": [{"id": "04", "sentence": "It’s not a matter of an event between spectators and a musician– it’s a space to submit to a process."}, {"id": "04", "sentence": "FLORIS VANHOOF (BE) Floris Vanhoof is a filmmaker and musician from Belgium."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "29", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "32", "sentence": "Robert Kroos (aka Duckfood) is a Rotterdam based musician, sound-artist and DJ working on all kinds of sound- and music related projects."}, {"id": "32", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}], "begins": [{"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}], "Angola": [{"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}], "largely": [{"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "hospital": [{"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "arrive": [{"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}], "Fengjastrútur": [{"id": "22", "sentence": "He also used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}], "Phenomena": [{"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "Gramophone": [{"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}], "Xenakis": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "work": [{"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "The work is voiced by Laetitia Saedier of Stereolab."}, {"id": "04", "sentence": "Every aspect of his work deals with the quality of sound."}, {"id": "04", "sentence": "For this event he will work with a film projection and a synthesizer, which he influences with his brainwaves."}, {"id": "04", "sentence": "At every level of detail, the everyday sound of our urban surroundings is the focus of his work."}, {"id": "04", "sentence": "His studio work focuses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "05", "sentence": "It is a complex work that nevertheless manages to remain simple and accessible in its final execution."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}, {"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "Sometimes I preferred elements because of harmonic information, notes that work well together, sometimes because of rhythms that worked well, etc."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it's use as a technology within her work."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "11", "sentence": "The work consists of two parts: 1."}, {"id": "11", "sentence": "An interactive graphic score/light box/kinetic work fixed inside the cabinet, and 2."}, {"id": "11", "sentence": "The work was installed for a period at The Small Museum – a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}, {"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "19", "sentence": "For example, his work 'frakativ' is an electronic visual sound poetry performance."}, {"id": "19", "sentence": "For 'Pushing Scores', we invited him to make special work for a limited edition."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "22", "sentence": "The idea of 'anitation' and the work of Guðmundur Steinn Gunnarsson fits perfectly within 'Pushing Scores'."}, {"id": "24", "sentence": "His work is described as conceptual music."}, {"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}, {"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}, {"id": "25", "sentence": "Her archival approach and its political and personal implications are the starting point of this work."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}, {"id": "27", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "You can only survive there if you work with nature."}, {"id": "27", "sentence": "If you work against it, it will kill you."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}, {"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}, {"id": "32", "sentence": "To engage with this potential, De Player and Varia asked several artists to work with the tool and use the result as a starting point for a performance."}, {"id": "32", "sentence": "Christine Cornwell is a composer and violinist working between NL/UK with projects involving improvisation and collaborative work often combined with visual artists, dancers, opera companies or experimental TV."}, {"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "generating": [{"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}], "Oostzijde": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}], "Sonology": [{"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}], "WIELS": [{"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}], "settings": [{"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "21", "sentence": "Fersteinn usually performs in the quietest of settings."}], "voice": [{"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "28", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}], "intelligible": [{"id": "22", "sentence": "In that way, the most irregular things can become very intelligible."}], "heard": [{"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "Artez": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "spatial": [{"id": "10", "sentence": "Software being processed creates its own temporal and spatial dimensions, which are staged for a public."}, {"id": "29", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "32", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "32", "sentence": "It invited anyone to follow simple instructions to create a spatial representation of different people's individual navigations through the archive."}], "among": [{"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}], "Pierre": [{"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}, {"id": "27", "sentence": "There is a little homage to GRM and Pierre Schaeffer on the record."}], "associated": [{"id": "05", "sentence": "The commercial potential and its associated value assessment are problematic for Colson."}, {"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "withdrawal": [{"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "citations": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "including": [{"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "24", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "Elliot": [{"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "sundown": [{"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "transporting": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}], "Lasha": [{"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}], "three-month": [{"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}], "dynamic": [{"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "32", "sentence": "The material is embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "Schematic": [{"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}], "installed": [{"id": "11", "sentence": "The work was installed for a period at The Small Museum – a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "Shoes": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "reality": [{"id": "10", "sentence": "Vuksic considers the time and space of computer processing and memory as levels of reality."}, {"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}], "searching": [{"id": "13", "sentence": "He sees it as punk, experimental, noise, investigative and critical, searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}], "Technocultural": [{"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "adapters": [{"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called 'telephone adapters'."}], "screen": [{"id": "21", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "Instead of using traditional musical scores during the performance, the musicians follow specific instructions that move across a computer screen."}], "followed": [{"id": "06", "sentence": "I followed that score for eight hours straight."}, {"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}], "authentic": [{"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}], "order": [{"id": "26", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}], "Laetitia": [{"id": "01", "sentence": "The work is voiced by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "The piece is voiced by Laetitia Saedier of Stereolab."}], "Quo": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "California": [{"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "conventional": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}], "soundscapes": [{"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}], "Kampen": [{"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}], "reveals": [{"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}], "sol": [{"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}], "Interview": [{"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}], "enjoy": [{"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}], "Fe": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Pasvik": [{"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}], "Guido": [{"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "In the eleventh century, Guido van Arezo introduced the staff with four lines (this is still in use)."}], "Amsterdam": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The work was installed for a period at The Small Museum – a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer based in Amsterdam."}, {"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "effects": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}], "POLY-DISCO": [{"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}], "mystery": [{"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "Cruce": [{"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}], "indicator": [{"id": "27", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}], "transformation": [{"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}], "derive": [{"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}], "Out": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}], "0167": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "negative": [{"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}], "takes": [{"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}, {"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}], "camera": [{"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}], "playable": [{"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}], "s-sake": [{"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}], "Grant": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "Kerckhoven": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "imagining": [{"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}], "se": [{"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}], "might": [{"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "The improvisation might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}], "Kees": [{"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}], "punch": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}], "Design": [{"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}], "Theater": [{"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}], "Czech": [{"id": "27", "sentence": "Both in active mines and in the abandoned mines and buildings surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "27", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}], "Gunnarsson": [{"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "21", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "21", "sentence": "Gunnarsson's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "22", "sentence": "This technique of composing is performed by Guðmundur Steinn Gunnarsson and his quartet Fersteinn."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson has been part of DE PLAYER's programme with his quartet Fersteinn several times."}, {"id": "22", "sentence": "This Icelandic quartet plays with little analogue instruments and animation scores Gunnarsson made on his computer."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}, {"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}, {"id": "22", "sentence": "The idea of 'anitation' and the work of Guðmundur Steinn Gunnarsson fits perfectly within 'Pushing Scores'."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}], "discussion": [{"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}], "intervention": [{"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "ten": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}], "all-dominating": [{"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}], "celestial": [{"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}], "youth": [{"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "27", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "27", "sentence": "Magnetic tape was the medium of my youth."}], "Moon": [{"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "Valentia": [{"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}], "theater": [{"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}], "remain": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "05", "sentence": "It is a complex work that nevertheless manages to remain simple and accessible in its final execution."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "Did": [{"id": "06", "sentence": "Did I mention I tend to overthink things?"}], "Media": [{"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "INT": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "THE": [{"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "Booty": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "2011â": [{"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "reinterpret": [{"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}], "blackens": [{"id": "31", "sentence": "This creates strong graphic works and partly blackens out the original score."}], "sylvinite": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Improper": [{"id": "20", "sentence": "Improper uses of consumer electronics (e.g."}], "Devil": [{"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}], "Maashaven": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Metrostation Maashaven."}], "ARCHIVING": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}], "money": [{"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}], "laptop": [{"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "21", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}], "Road": [{"id": "24", "sentence": "Shena 'Dark Road' by Annie Lennox 'Delivery' by Babyshambles 'Desecration Smile' by Red Hot Chili Peppers 'Destination Calabria' by Alex Gaudino feat."}], "Gohan": [{"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}], "rigid": [{"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "21", "sentence": "Gunnarsson's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}], "Hunk": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Brosi": [{"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "González": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "range": [{"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}], "2": [{"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "06", "sentence": "This resulted in 'Principium 2.0'."}, {"id": "06", "sentence": "It was presented at Stadslimiet, Antwerp, as an installation piece on 2 Jul 2015."}, {"id": "06", "sentence": "Principium 2.0' is then another piece in step with the principle of Colson's original 'Principium'."}, {"id": "06", "sentence": "The interview was conducted after he exhibited 'Principium 2.0' in an installation setting at Stadslimiet, Antwerp."}, {"id": "11", "sentence": "An interactive graphic score/light box/kinetic work fixed inside the cabinet, and 2."}, {"id": "12", "sentence": "Sacrificing, 2."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}, {"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "32", "sentence": "The project investigated the state of the arts of composing scores in a contemporary environment and spanned over 2-3 years."}], "onto": [{"id": "04", "sentence": "They are cheap dummy books, onto which he poured ink in several colors."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}], "their": [{"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}, {"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "02", "sentence": "Each student had to develop their own project around the process of making a score."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "They're just new pieces in their own right."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the working process."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "Varia will host the evening, and explain their ideas and approach to developing the archive."}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "When the webs are harvested, my hand affects their original form."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}, {"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "32", "sentence": "Pushing Scores website launch and performance evening At the end of 2018, De Player approached Varia to develop a web-publication for their Pushing Scores project archive, which resulted in the current website."}], "edited": [{"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "Pendulum": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "demonstration": [{"id": "07", "sentence": "On this evening, 'Resonanz' will be the starting point for a Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "For this evening event, 'Resonanz' will be the starting point of Q&A, demonstration and live presentation."}, {"id": "29", "sentence": "His presentation was a crossover between a lecture and a demonstration."}], "Exotica": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}], "schools": [{"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}], "actuality": [{"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}], "Sophie": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "mechanic": [{"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}], "perceptions": [{"id": "04", "sentence": "They are intensified visual and audio perceptions in a specific space."}], "MS20": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}], "CITG": [{"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}], "crossover": [{"id": "29", "sentence": "His presentation was a crossover between a lecture and a demonstration."}], "disc": [{"id": "02", "sentence": "One restriction was decided upon: The scores had to be presented on floppy disc."}, {"id": "09", "sentence": "However, it was decided to start from the floppy disc as a medium."}], "threads": [{"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}], "lenticulars": [{"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}], "PLAYER": [{"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}, {"id": "06", "sentence": "DE PLAYER: Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "06", "sentence": "DE PLAYER: The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "DE PLAYER: Do you see this as a drone record?"}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson has been part of DE PLAYER's programme with his quartet Fersteinn several times."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "vector": [{"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}], "Andrea": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "rolls": [{"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}], "Kottke": [{"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "pitch": [{"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}], "Dunkelmann": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "spines": [{"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}], "posed": [{"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}], "over": [{"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "04", "sentence": "His websites attract a large audience of over forty million unique visits per year."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, which determines the rhythm."}, {"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}, {"id": "32", "sentence": "The project investigated the state of the arts of composing scores in a contemporary environment and spanned over 2-3 years."}], "application": [{"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "07", "sentence": "All had worked with the medium of the vinyl record and added a new use/application."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}], "ten-minute": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}], "hard": [{"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}, {"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "27", "sentence": "It is a base of hard rock under the water with different layers of material."}], "Kirkenes": [{"id": "27", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "27", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}], "rock": [{"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "27", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "27", "sentence": "Far down in the Earth the rock is actually moving."}, {"id": "27", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "27", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}], "choreographies": [{"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "By writing choreographies for software and computer elements, she utilises these technologies as actors in software/noise pieces for, and in, computers."}], "calls": [{"id": "12", "sentence": "He calls this chapter 'Represent' because it is the project of the executive."}], "Timo": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "or": [{"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "05", "sentence": "This can be a performance, an object, a book or whatever other form he settles on."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}, {"id": "06", "sentence": "I could have gone for something more 'correct' in terms of concept – I don't know, pure sine waves or something."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "06", "sentence": "I don't think of it as a manifesto or anything."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "In the case of the 'prepared record', the record or musical piece is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (of one or more people)."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "11", "sentence": "A seventh note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "18", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "20", "sentence": "The style and/or genre determine the identity."}, {"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}, {"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}, {"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "21", "sentence": "Gunnarsson's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "21", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "22", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "The composition follows a more or less linear path, starting with 'deep' time."}, {"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "27", "sentence": "The composition follows a more or less linear path – starting with deep time."}, {"id": "27", "sentence": "It's not like wind or the sun, which give you immediate energy."}, {"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}, {"id": "32", "sentence": "The material is embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "32", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "32", "sentence": "Christine Cornwell is a composer and violinist working between NL/UK with projects involving improvisation and collaborative work often combined with visual artists, dancers, opera companies or experimental TV."}], "historical": [{"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}], "VALENTINA": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "VALENTINA VUKSIC (CH/NL) Valentina Vuksic is a computer artist and programmer based in Zürich."}], "existence": [{"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}], "combined": [{"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}, {"id": "27", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "32", "sentence": "Christine Cornwell is a composer and violinist working between NL/UK with projects involving improvisation and collaborative work often combined with visual artists, dancers, opera companies or experimental TV."}], "pinning": [{"id": "06", "sentence": "Art is not pinning things down."}], "PureData": [{"id": "06", "sentence": "And since I'm a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}], "Glasgow": [{"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "contact": [{"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "32", "sentence": "He used a guzheng as a basis and then contact microphones to manipulate the sounds with software."}, {"id": "32", "sentence": "The individual lines of the staffs were movable by means of 5 handles which were amplified through contact mics."}], "Julian": [{"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}], "meaningful": [{"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}], "Gates": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "3": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "TGC#3 is a particular kind of publishing platform engineered for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpart to his own musical input."}, {"id": "12", "sentence": "Representing, 3."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "32", "sentence": "The project investigated the state of the arts of composing scores in a contemporary environment and spanned over 2-3 years."}], "colourful": [{"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "The office material, those colourful little dots."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}], "Synthesis": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}], "he": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}, {"id": "04", "sentence": "For this event he will work with a film projection and a synthesizer, which he influences with his brainwaves."}, {"id": "04", "sentence": "Within it, he develops the reciprocity of music and architecture, and of sound and image."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "04", "sentence": "They are cheap dummy books, onto which he poured ink in several colors."}, {"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}, {"id": "05", "sentence": "This can be a performance, an object, a book or whatever other form he settles on."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "Interestingly, he thought his resulting collages would be nice to use as scores – and they probably would have been."}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "The interview was conducted after he exhibited 'Principium 2.0' in an installation setting at Stadslimiet, Antwerp."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "Line segments which he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpart to his own musical input."}, {"id": "11", "sentence": "The invitation was perfectly suited for a project in public space that he had in mind for 'Pushing Scores'."}, {"id": "12", "sentence": "It was particularly of interested to us because of the way in which he focuses on the reproduction of music."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "19", "sentence": "For this he developed specific software that generates poetry in spoken-word form."}, {"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}, {"id": "24", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "24", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}, {"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}, {"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "27", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "27", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope."}, {"id": "27", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}, {"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}, {"id": "28", "sentence": "Since the beginning of his practice, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}, {"id": "32", "sentence": "For this special event he used be using the guzheng and electronics as instruments of choice."}, {"id": "32", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}], "R": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}], "ultimately": [{"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}], "Stained": [{"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "meets": [{"id": "02", "sentence": "‘Fred Flintstone meets the twenty-first century’, it was referred to as."}], "ninty-three": [{"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}], "Defne": [{"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}], "centre": [{"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}], "Institutions": [{"id": "27", "sentence": "Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34."}], "sun": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "27", "sentence": "It's not like wind or the sun, which give you immediate energy."}], "teachers": [{"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "truly": [{"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}], "Annette": [{"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}], "respective": [{"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}], "capturing": [{"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}], "engaging": [{"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "allegorical": [{"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "is": [{"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "The work is voiced by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The 'E-ARTHHA' event is about the search for new interfaces and possibilities for sound composition, image and performance."}, {"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "So what is the current state of the graphic score?"}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "TGC#3 is a particular kind of publishing platform engineered for sonic experiments, instruments and installations."}, {"id": "02", "sentence": "This is a magazine without any format, with the intention for a new one to be developed each time."}, {"id": "02", "sentence": "The result is a combination of several media, which all coexist in a designed concrete object."}, {"id": "02", "sentence": "It has a Raspberry Pi sits at its core, and is programmed for several applications."}, {"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}, {"id": "04", "sentence": "RAFAËL ROZENDAAL (NL) Rafaël Rozendaal is a visual artist who uses the Internet as his canvas."}, {"id": "04", "sentence": "FLORIS VANHOOF (BE) Floris Vanhoof is a filmmaker and musician from Belgium."}, {"id": "04", "sentence": "JUSTIN BENNETT (UK) Justin Bennett is an artist working with sound and visual media."}, {"id": "04", "sentence": "At every level of detail, the everyday sound of our urban surroundings is the focus of his work."}, {"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is also an art book publisher (Onomatopee, Eindhoven, and WdW Review, Rotterdam)."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "05", "sentence": "The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "05", "sentence": "This print run is to be seen as a performative action."}, {"id": "05", "sentence": "It is a complex work that nevertheless manages to remain simple and accessible in its final execution."}, {"id": "05", "sentence": "He opens up the artistic field to explore what is happening in the art world."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "Principium 2.0' is then another piece in step with the principle of Colson's original 'Principium'."}, {"id": "06", "sentence": "This is an interview with Kris Delacourt (Remörk) on his practice and the 'Principium' story."}, {"id": "06", "sentence": "As mentioned, this is the short version, can you give me the full story?"}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts."}, {"id": "06", "sentence": "So the C note runs for tens minutes and the B note is something like five minutes and twenty seconds."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it's own."}, {"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "06", "sentence": "Art is letting things go, let it flow."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "Resonanz' is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne."}, {"id": "07", "sentence": "She is part of the sound art collective Sculptress of Sound."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "07", "sentence": "In the case of the 'prepared record', the record or musical piece is not used as a reproductive technique."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}, {"id": "09", "sentence": "JOHANNES BERGMARK (SE) Johannes Bergmark is a Fylkingen-affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpart to his own musical input."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}, {"id": "10", "sentence": "VALENTINA VUKSIC (CH/NL) Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The piece is voiced by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century, Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}, {"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "He calls this chapter 'Represent' because it is the project of the executive."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer based in Amsterdam."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He is inspiring for a lot of performance-based composers."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "18", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called 'cheironmy'."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "19", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "19", "sentence": "For example, his work 'frakativ' is an electronic visual sound poetry performance."}, {"id": "19", "sentence": "The performance 'frikativ' is real-time generated visual and sound poetry."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "19", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "20", "sentence": "In a multicultural situation, abstract sounds are forms of recognition; then there is, for example, music."}, {"id": "20", "sentence": "Cultural identity is therefore communicated through this."}, {"id": "20", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "20", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "20", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}, {"id": "20", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "21", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "22", "sentence": "Anitation' is the term for animated notation."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "22", "sentence": "This technique of composing is performed by Guðmundur Steinn Gunnarsson and his quartet Fersteinn."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "24", "sentence": "Johannes Kreidler is a special case when it comes to composing."}, {"id": "24", "sentence": "His work is described as conceptual music."}, {"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "24", "sentence": "According to Kreidler, the action, entitled 'Fremdarbeit', is intended to focus attention on the themes of exploitation and authorship."}, {"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}, {"id": "24", "sentence": "Johannes Kreidler is a composer and concept and media artist."}, {"id": "24", "sentence": "His way of composing has a multimedia conceptual approach, which is mostly linked with processes in society."}, {"id": "24", "sentence": "This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "Ana Guedes is a multidisciplinary artist from Portugal who lives and works in the Hague."}, {"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "25", "sentence": "This 'other way' to come to sound is an interesting phenomenon."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "26", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "27", "sentence": "What is the relationship between the sounds of mining and the community that surrounds them?"}, {"id": "27", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "27", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}, {"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}, {"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "27", "sentence": "Currently, Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "27", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "27", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "27", "sentence": "It is a vast scar in the landscape, and really an incredible place."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}, {"id": "27", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "27", "sentence": "One is the waste you make to get to the ore."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "27", "sentence": "It is important for companies to manage this."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "So much time is compressed in this material and it's burned up in minutes."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "27", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "27", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "27", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "27", "sentence": "The landscape is fairly untouched, it is scarcely populated, it's desolate."}, {"id": "27", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "27", "sentence": "The Arctic is changing quickly."}, {"id": "27", "sentence": "That is quite scary."}, {"id": "27", "sentence": "Far down in the Earth the rock is actually moving."}, {"id": "27", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "27", "sentence": "Listening underground is like reading the environment."}, {"id": "27", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "27", "sentence": "In practice it's quite mathematical, but it still it is part of the sound world too."}, {"id": "27", "sentence": "Through soundwaves geologists are able to map what is underground."}, {"id": "27", "sentence": "There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "27", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "27", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "28", "sentence": "Duncan also often works with Carl Michael Hausswolff, who is an expert in EVP."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}, {"id": "28", "sentence": "He is currently a sound designer at the Art Academy of Bologna, Italy."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}, {"id": "29", "sentence": "It is based in Rotterdam in the same area that we operate in."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "29", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}, {"id": "30", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "30", "sentence": "In that sense, there is never a perfect reproduction but always an interpretation."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}, {"id": "30", "sentence": "This one is a pretty contemporary example and results in great imagery and sound."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "31", "sentence": "Spectral Arrows' is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}, {"id": "31", "sentence": "One of Marco's most-known projects is called 'Black Mass Implosion'."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}, {"id": "32", "sentence": "The material is embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "32", "sentence": "Navigating within the data structure of the archive becomes an act of score notation, and is thus based on subjective association and drifting."}, {"id": "32", "sentence": "Robert Kroos (aka Duckfood) is a Rotterdam based musician, sound-artist and DJ working on all kinds of sound- and music related projects."}, {"id": "32", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}, {"id": "32", "sentence": "Christine Cornwell is a composer and violinist working between NL/UK with projects involving improvisation and collaborative work often combined with visual artists, dancers, opera companies or experimental TV."}, {"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}], "Convocation": [{"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "microphone": [{"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}], "flying": [{"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}], "Air": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Bobby": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "interventions": [{"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "Line": [{"id": "06", "sentence": "Line segments which he reassembled into new shapes and new lines."}], "investigates": [{"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}], "Jul": [{"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}, {"id": "06", "sentence": "It was presented at Stadslimiet, Antwerp, as an installation piece on 2 Jul 2015."}], "models": [{"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}], "regrets": [{"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}], "initiated": [{"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}], "Necrofantasia": [{"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}], "listener": [{"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}], "All": [{"id": "02", "sentence": "All these scores then had to come together in one magazine/object."}, {"id": "07", "sentence": "All had worked with the medium of the vinyl record and added a new use/application."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "27", "sentence": "All to get to the desired result: The gold!"}], "Before": [{"id": "11", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "18", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "23", "sentence": "Before God needed to be invented there were man."}, {"id": "23", "sentence": "Before language there was the song."}, {"id": "23", "sentence": "Before the song there was the yodel,' As Bart Plantenga stated in his reading on yodeling."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Those": [{"id": "27", "sentence": "Those recordings symbolise the stasis of time."}], "modernist": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}], "hundreds": [{"id": "27", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "27", "sentence": "I had hundreds of cassette tapes, mostly TDK."}], "mechanised": [{"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}], "Dashper": [{"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}], "about": [{"id": "01", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "The 'E-ARTHHA' event is about the search for new interfaces and possibilities for sound composition, image and performance."}, {"id": "04", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "27", "sentence": "That's why I wanted to have a thread about the regeneration of mining areas."}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "27", "sentence": "It's absurd when you start to think about it."}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "27", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "When we met we had discussions about several professional subjects and decided to realise a publication."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}], "VECTOR": [{"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}], "cases": [{"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}], "during": [{"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "22", "sentence": "Instead of using traditional musical scores during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}, {"id": "30", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}], "selections": [{"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}], "e-culture": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "surrounding": [{"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "27", "sentence": "Both in active mines and in the abandoned mines and buildings surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}], "asked": [{"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}, {"id": "32", "sentence": "To engage with this potential, De Player and Varia asked several artists to work with the tool and use the result as a starting point for a performance."}], "singers": [{"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}], "ignores": [{"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}], "unplayable": [{"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "Kimmy": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "assess": [{"id": "13", "sentence": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}], "fascinate": [{"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}], "Cascada": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "abilities": [{"id": "26", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}], "according": [{"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}], "Brecht": [{"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "The 'Event Scores' of George Brecht are still actual pieces."}], "little": [{"id": "06", "sentence": "The office material, those colourful little dots."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "Well, a little… Two years, actually."}, {"id": "22", "sentence": "This Icelandic quartet plays with little analogue instruments and animation scores Gunnarsson made on his computer."}, {"id": "27", "sentence": "There is a little homage to GRM and Pierre Schaeffer on the record."}], "Kim": [{"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Conservatorium": [{"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}], "compensation": [{"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}], "thinking": [{"id": "01", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "14", "sentence": "It completely complimented our thinking around how to imagine the concept of composing and making scores."}, {"id": "25", "sentence": "Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation."}], "runs": [{"id": "06", "sentence": "So the C note runs for tens minutes and the B note is something like five minutes and twenty seconds."}, {"id": "22", "sentence": "He runs his own multi-instrumentalist quartet called Fersteinn."}], "textures": [{"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}], "National": [{"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}, {"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "Canada": [{"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}], "impossibilities": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}], "redesigned": [{"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}], "limit": [{"id": "02", "sentence": "This was put in place to both limit possibilities and to unite the format."}], "always": [{"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "27", "sentence": "The sound of the mine was always present."}, {"id": "27", "sentence": "I'm always processing and refining my field recordings."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "In that sense, there is never a perfect reproduction but always an interpretation."}, {"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}], "Implosion": [{"id": "31", "sentence": "One of Marco's most-known projects is called 'Black Mass Implosion'."}, {"id": "31", "sentence": "Fusinato's 'Mass Black Implosion' series began in 2007."}], "poésie": [{"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "20", "sentence": "Inspiration comes in the form of vocal poetry, 'poésie sonore' and text-sound composition."}], "completely": [{"id": "07", "sentence": "To complete the event we searched for two completely different approaches to composition."}, {"id": "14", "sentence": "It completely complimented our thinking around how to imagine the concept of composing and making scores."}, {"id": "24", "sentence": "The system was therefore completely stuck."}], "refining": [{"id": "27", "sentence": "I'm always processing and refining my field recordings."}], "This": [{"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "01", "sentence": "This continues to question the representation of sound in media to this day."}, {"id": "02", "sentence": "This is a magazine without any format, with the intention for a new one to be developed each time."}, {"id": "02", "sentence": "This was put in place to both limit possibilities and to unite the format."}, {"id": "05", "sentence": "This can be a performance, an object, a book or whatever other form he settles on."}, {"id": "05", "sentence": "This print run is to be seen as a performative action."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "This resulted in 'Principium 2.0'."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "This is an interview with Kris Delacourt (Remörk) on his practice and the 'Principium' story."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "13", "sentence": "This encompasses the conceptualisation, the funding and the execution."}, {"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "15", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}, {"id": "21", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "21", "sentence": "This means animated notation."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "22", "sentence": "This technique of composing is performed by Guðmundur Steinn Gunnarsson and his quartet Fersteinn."}, {"id": "22", "sentence": "This Icelandic quartet plays with little analogue instruments and animation scores Gunnarsson made on his computer."}, {"id": "22", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}, {"id": "24", "sentence": "This makes it particularly interesting when viewed from the perspective of experimentation and unorthodox composing."}, {"id": "24", "sentence": "This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "25", "sentence": "This 'other way' to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}, {"id": "27", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "This was part of a test production of around 30,000 tons."}, {"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "30", "sentence": "This not only counts for publishing but also for exploring new possibilities for artist practice in general."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "This one is a pretty contemporary example and results in great imagery and sound."}, {"id": "31", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}, {"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}, {"id": "32", "sentence": "Christine Cornwell one dot = one degree / one step / one word spoken This piece explores different layers of interpretation taken from the starting point of any archive-text-score."}], "GREATEST": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}], "1999": [{"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}], "challenge": [{"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}], "beyond": [{"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}], "musical": [{"id": "01", "sentence": "Later on, this developed into the type of musical notation we are familiar with in Western music."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "In the case of the 'prepared record', the record or musical piece is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpart to his own musical input."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}, {"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "21", "sentence": "Gunnarsson's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "21", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "Instead of using traditional musical scores during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}], "However": [{"id": "09", "sentence": "However, it was decided to start from the floppy disc as a medium."}, {"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}], "Gourdon": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}], "Anonymous": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "phase": [{"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "conducting": [{"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "18", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called 'cheironmy'."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}], "processed": [{"id": "10", "sentence": "Software being processed creates its own temporal and spatial dimensions, which are staged for a public."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}], "were": [{"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "04", "sentence": "These books were the starting point for curating the event, which subsequently sat within our 'Pushing Scores' project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "DE PLAYER: Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Kris Delacourt: There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "They were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "11", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "18", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}, {"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}, {"id": "23", "sentence": "Before God needed to be invented there were man."}, {"id": "24", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "27", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "30", "sentence": "They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}, {"id": "31", "sentence": "Good food and drinks were served."}, {"id": "32", "sentence": "Niek built an interactive installation, which can be summarized as a portable music staff where the actual scores/notes were hung on like a washing line."}, {"id": "32", "sentence": "The individual lines of the staffs were movable by means of 5 handles which were amplified through contact mics."}], "evenings": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}], "console": [{"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}], "interface": [{"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}], "images": [{"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}], "2313": [{"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}], "preferred": [{"id": "06", "sentence": "Sometimes I preferred elements because of harmonic information, notes that work well together, sometimes because of rhythms that worked well, etc."}], "alternative": [{"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}], "works": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "These works deal with continuity and endless accessibility."}, {"id": "05", "sentence": "Colson's works examine core questions: What power does art have to change us and our society?"}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The usual code of the record, as defined by the music industry, was broken in all works."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "15", "sentence": "Holzer often works through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "21", "sentence": "Fersteinn works with the method of so-called 'animation'."}, {"id": "24", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "24", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}, {"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}, {"id": "25", "sentence": "Ana Guedes is a multidisciplinary artist from Portugal who lives and works in the Hague."}, {"id": "25", "sentence": "She works with sound, video, installation and performance."}, {"id": "27", "sentence": "For this event, Kahn did some kind of improvisation session on the works of the three invited artists."}, {"id": "28", "sentence": "Duncan also often works with Carl Michael Hausswolff, who is an expert in EVP."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}, {"id": "31", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}], "intermediary": [{"id": "18", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called 'cheironmy'."}], "Kürten": [{"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}], "Moniker": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "Nelle": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "perceive": [{"id": "06", "sentence": "How do you perceive the function a piece of vinyl can have?"}, {"id": "06", "sentence": "Or perhaps you would perceive it as a failure if it weren't enjoyable without the concept?"}], "tonewheels": [{"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}], "circuitry": [{"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}], "aiming": [{"id": "06", "sentence": "I guess I am aiming for the best of both worlds there."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}], "invented": [{"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}, {"id": "23", "sentence": "Before God needed to be invented there were man."}], "consoles": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}], "influencing": [{"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}], "Tectonics": [{"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "Electronic": [{"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "cheironmy": [{"id": "18", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called 'cheironmy'."}], "Roberta": [{"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}], "Benny": [{"id": "27", "sentence": "Benny Nilsen approached us with his project 'ORE'."}, {"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}], "near": [{"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "strata": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "considers": [{"id": "10", "sentence": "Vuksic considers the time and space of computer processing and memory as levels of reality."}, {"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}], "digital": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}], "Rotterdam": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "He is also an art book publisher (Onomatopee, Eindhoven, and WdW Review, Rotterdam)."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "29", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}, {"id": "29", "sentence": "It is based in Rotterdam in the same area that we operate in."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "32", "sentence": "Robert Kroos (aka Duckfood) is a Rotterdam based musician, sound-artist and DJ working on all kinds of sound- and music related projects."}, {"id": "32", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}], "clarify": [{"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}], "Dance": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}, {"id": "24", "sentence": "Team 'Don't' by Elvis Presley With The Jordanaires 'Don't Dance' by Midas 'Don't Give It Up' by Siobhan Donaghy"}], "students": [{"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "02", "sentence": "We proposed to the students that they devise an issue of our publication Tetra Gamma Circulaire."}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}], "sensors": [{"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}], "pattern": [{"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}], "Research": [{"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}], "Samuel": [{"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}], "performer": [{"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}], "newspapers": [{"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}], "ascending": [{"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}], "bigger": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}], "and": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}, {"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Just so you can see them day and night, for roughly three weeks long."}, {"id": "01", "sentence": "The 'E-ARTHHA' event is about the search for new interfaces and possibilities for sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016, 2017 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC#3 is a particular kind of publishing platform engineered for sonic experiments, instruments and installations."}, {"id": "02", "sentence": "This was put in place to both limit possibilities and to unite the format."}, {"id": "02", "sentence": "It has a Raspberry Pi sits at its core, and is programmed for several applications."}, {"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}, {"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}, {"id": "04", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "It’s not a matter of an event between spectators and a musician– it’s a space to submit to a process."}, {"id": "04", "sentence": "These works deal with continuity and endless accessibility."}, {"id": "04", "sentence": "They are intensified visual and audio perceptions in a specific space."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "FLORIS VANHOOF (BE) Floris Vanhoof is a filmmaker and musician from Belgium."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}, {"id": "04", "sentence": "For this event he will work with a film projection and a synthesizer, which he influences with his brainwaves."}, {"id": "04", "sentence": "JUSTIN BENNETT (UK) Justin Bennett is an artist working with sound and visual media."}, {"id": "04", "sentence": "Within it, he develops the reciprocity of music and architecture, and of sound and image."}, {"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is also an art book publisher (Onomatopee, Eindhoven, and WdW Review, Rotterdam)."}, {"id": "04", "sentence": "His studio work focuses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "05", "sentence": "It is a complex work that nevertheless manages to remain simple and accessible in its final execution."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: What power does art have to change us and our society?"}, {"id": "05", "sentence": "What emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "The commercial potential and its associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "He then reassembled these line segments into new shapes and new lines."}, {"id": "06", "sentence": "Pretty nonsensical in a way, but it produced a really beautiful, and quite fragile, result."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "Colson made two booklets in the 'Principium' series – comprised of reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "Interestingly, he thought his resulting collages would be nice to use as scores – and they probably would have been."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "This is an interview with Kris Delacourt (Remörk) on his practice and the 'Principium' story."}, {"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "At least, that's where the initial form and the name came from."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "Line segments which he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It's an iron board and it has the same visuals as the sticker sheets."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for tens minutes and the B note is something like five minutes and twenty seconds."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in the number twelve even, and there's the appeal of building instruments too."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "They were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "There's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "TELCOSYSTEMS (NL) Telcosystems presents 'Resonanz', an electronic book combining a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "On this evening, 'Resonanz' will be the starting point for a Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "With 'Resonanz', Telcosystems presents an electronic book that combines a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "For this evening event, 'Resonanz' will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}, {"id": "07", "sentence": "— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne."}, {"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "07", "sentence": "All had worked with the medium of the vinyl record and added a new use/application."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it's use as a technology within her work."}, {"id": "09", "sentence": "JOHANNES BERGMARK (SE) Johannes Bergmark is a Fylkingen-affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the working process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "09", "sentence": "Transmitted through a beamer and an audio system, everything becomes visible and audible."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will host the evening, and explain their ideas and approach to developing the archive."}, {"id": "10", "sentence": "It was a good concert and her way of working fit into our ideas of exploring graphic scores very well."}, {"id": "10", "sentence": "The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}, {"id": "10", "sentence": "VALENTINA VUKSIC (CH/NL) Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "By writing choreographies for software and computer elements, she utilises these technologies as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers the time and space of computer processing and memory as levels of reality."}, {"id": "10", "sentence": "Software being processed creates its own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "An interactive graphic score/light box/kinetic work fixed inside the cabinet, and 2."}, {"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}, {"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}, {"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "13", "sentence": "This encompasses the conceptualisation, the funding and the execution."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "13", "sentence": "Yet these alternate approaches brought us together and made 'Pushing Scores' real."}, {"id": "13", "sentence": "His studio focuses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the 'Aalto Natives' at the Finnish Pavilion of the 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}, {"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "He sees it as punk, experimental, noise, investigative and critical, searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "It completely complimented our thinking around how to imagine the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}, {"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology and national security."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "18", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called 'cheironmy'."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "19", "sentence": "The performance 'frikativ' is real-time generated visual and sound poetry."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "19", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}, {"id": "20", "sentence": "The style and/or genre determine the identity."}, {"id": "20", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "20", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "20", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}, {"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}, {"id": "20", "sentence": "Inspiration comes in the form of vocal poetry, 'poésie sonore' and text-sound composition."}, {"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}, {"id": "20", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "This technique of composing is performed by Guðmundur Steinn Gunnarsson and his quartet Fersteinn."}, {"id": "22", "sentence": "This Icelandic quartet plays with little analogue instruments and animation scores Gunnarsson made on his computer."}, {"id": "22", "sentence": "It results in very delicate and unconventional chamber music."}, {"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}, {"id": "22", "sentence": "The idea of 'anitation' and the work of Guðmundur Steinn Gunnarsson fits perfectly within 'Pushing Scores'."}, {"id": "22", "sentence": "and took part in founding its festival Sláturtíð."}, {"id": "22", "sentence": "He also used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}, {"id": "24", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}, {"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "24", "sentence": "According to Kreidler, the action, entitled 'Fremdarbeit', is intended to focus attention on the themes of exploitation and authorship."}, {"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}, {"id": "24", "sentence": "Johannes Kreidler is a composer and concept and media artist."}, {"id": "24", "sentence": "This makes it particularly interesting when viewed from the perspective of experimentation and unorthodox composing."}, {"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "Ana Guedes is a multidisciplinary artist from Portugal who lives and works in the Hague."}, {"id": "25", "sentence": "She works with sound, video, installation and performance."}, {"id": "25", "sentence": "Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation."}, {"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}, {"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "25", "sentence": "Her archival approach and its political and personal implications are the starting point of this work."}, {"id": "25", "sentence": "Because she uses and records the archive, the end result almost turns out to be a DJ set."}, {"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "26", "sentence": "She presented her project entitled 'Arachnes Sonifier', in which she captures and makes audible spider webs."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}, {"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}, {"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "26", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "26", "sentence": "The sonification of spider webs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}, {"id": "26", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "26", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}, {"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "27", "sentence": "What is the relationship between the sounds of mining and the community that surrounds them?"}, {"id": "27", "sentence": "Both in active mines and in the abandoned mines and buildings surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "27", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope."}, {"id": "27", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "27", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "27", "sentence": "Currently, Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}, {"id": "27", "sentence": "Mining' by BJ Nilsen, 'Jazz' by Max Franklin and 'Earthquake' by Aurelie Lierman."}, {"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "27", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}, {"id": "27", "sentence": "It doesn't relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "27", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "27", "sentence": "It is a vast scar in the landscape, and really an incredible place."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "I'm very interested in the hidden layers and history the landscape."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "27", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "27", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "So much time is compressed in this material and it's burned up in minutes."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}, {"id": "27", "sentence": "Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34."}, {"id": "27", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "27", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "27", "sentence": "In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it ."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "27", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "27", "sentence": "There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "27", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "27", "sentence": "I'm always processing and refining my field recordings."}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}, {"id": "28", "sentence": "When we met we had discussions about several professional subjects and decided to realise a publication."}, {"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}, {"id": "28", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "29", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}, {"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "29", "sentence": "Varia has developed a context and technical environment as a web-based archival publication."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}, {"id": "29", "sentence": "His presentation was a crossover between a lecture and a demonstration."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}, {"id": "30", "sentence": "This one is a pretty contemporary example and results in great imagery and sound."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "30", "sentence": "They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}, {"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}, {"id": "31", "sentence": "Spectral Arrows' is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}, {"id": "31", "sentence": "For this we published 8\" records with artists and labels."}, {"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}, {"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}, {"id": "31", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}, {"id": "31", "sentence": "Good food and drinks were served."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}, {"id": "32", "sentence": "Pushing Scores website launch and performance evening At the end of 2018, De Player approached Varia to develop a web-publication for their Pushing Scores project archive, which resulted in the current website."}, {"id": "32", "sentence": "The project investigated the state of the arts of composing scores in a contemporary environment and spanned over 2-3 years."}, {"id": "32", "sentence": "The material is embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "32", "sentence": "Navigating within the data structure of the archive becomes an act of score notation, and is thus based on subjective association and drifting."}, {"id": "32", "sentence": "To engage with this potential, De Player and Varia asked several artists to work with the tool and use the result as a starting point for a performance."}, {"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}, {"id": "32", "sentence": "He used a guzheng as a basis and then contact microphones to manipulate the sounds with software."}, {"id": "32", "sentence": "Robert Kroos (aka Duckfood) is a Rotterdam based musician, sound-artist and DJ working on all kinds of sound- and music related projects."}, {"id": "32", "sentence": "For this special event he used be using the guzheng and electronics as instruments of choice."}, {"id": "32", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}, {"id": "32", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "32", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "32", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "32", "sentence": "Christine Cornwell is a composer and violinist working between NL/UK with projects involving improvisation and collaborative work often combined with visual artists, dancers, opera companies or experimental TV."}, {"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "allow": [{"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "graphic": [{"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016, 2017 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "So what is the current state of the graphic score?"}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "It was a good concert and her way of working fit into our ideas of exploring graphic scores very well."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "An interactive graphic score/light box/kinetic work fixed inside the cabinet, and 2."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer based in Amsterdam."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "Ellen": [{"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}], "shows": [{"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}], "Groothandelsgebouw": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "bauxite": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "going": [{"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}, {"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}, {"id": "27", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}], "lies": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}], "Bear": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "acting": [{"id": "24", "sentence": "By acting consistently within these structures he creates his works."}], "signal": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}], "Belgian": [{"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}], "Are": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "correct": [{"id": "06", "sentence": "I could have gone for something more 'correct' in terms of concept – I don't know, pure sine waves or something."}], "of": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}, {"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "The work is voiced by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Metrostation Maashaven."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}, {"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Throughout 2016, 2017 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on, this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media to this day."}, {"id": "01", "sentence": "So what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "TGC#3 is a particular kind of publishing platform engineered for sonic experiments, instruments and installations."}, {"id": "02", "sentence": "Some dare to say that it’s a kind of jukebox."}, {"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "02", "sentence": "We proposed to the students that they devise an issue of our publication Tetra Gamma Circulaire."}, {"id": "02", "sentence": "Each student had to develop their own project around the process of making a score."}, {"id": "02", "sentence": "The result is a combination of several media, which all coexist in a designed concrete object."}, {"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}, {"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}, {"id": "04", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Every aspect of his work deals with the quality of sound."}, {"id": "04", "sentence": "It’s not a matter of an event between spectators and a musician– it’s a space to submit to a process."}, {"id": "04", "sentence": "His websites attract a large audience of over forty million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "At every level of detail, the everyday sound of our urban surroundings is the focus of his work."}, {"id": "04", "sentence": "Within it, he develops the reciprocity of music and architecture, and of sound and image."}, {"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "05", "sentence": "The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded."}, {"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "05", "sentence": "The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be referred to as 'post-ironic'."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "What emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "Principium' comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "Colson made two booklets in the 'Principium' series – comprised of reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}, {"id": "06", "sentence": "Principium 2.0' is then another piece in step with the principle of Colson's original 'Principium'."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "It's meant to be in a continued state of flux."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "Yet I felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "Peter brought six record players, matching the six colours of the vinyl nicely – two notes each."}, {"id": "06", "sentence": "And since I'm a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "End of piece."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}, {"id": "06", "sentence": "There’s something appealing in the number twelve even, and there's the appeal of building instruments too."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB Records."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "Sometimes I preferred elements because of harmonic information, notes that work well together, sometimes because of rhythms that worked well, etc."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it's own."}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "06", "sentence": "I could have gone for something more 'correct' in terms of concept – I don't know, pure sine waves or something."}, {"id": "06", "sentence": "The improvisation might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "How do you perceive the function a piece of vinyl can have?"}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "But it's still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "That's just another way of letting things go, of giving up control."}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "I don't think of it as a manifesto or anything."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "I guess I am aiming for the best of both worlds there."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "TELCOSYSTEMS (NL) Telcosystems presents 'Resonanz', an electronic book combining a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "With 'Resonanz', Telcosystems presents an electronic book that combines a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "For this evening event, 'Resonanz' will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "She is part of the sound art collective Sculptress of Sound."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}, {"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "Julia Bünnagel was also invited, under the guise of contributing a more physical input."}, {"id": "07", "sentence": "In the case of the 'prepared record', the record or musical piece is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "07", "sentence": "All had worked with the medium of the vinyl record and added a new use/application."}, {"id": "07", "sentence": "The usual code of the record, as defined by the music industry, was broken in all works."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "08", "sentence": "The initiatives gather within a part of the programme called 'Intersections'."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the working process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (of one or more people)."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}, {"id": "09", "sentence": "As another example, Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}, {"id": "10", "sentence": "It was a good concert and her way of working fit into our ideas of exploring graphic scores very well."}, {"id": "10", "sentence": "Her score was made on the spot with programming language; a sort of live coding."}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "Vuksic considers the time and space of computer processing and memory as levels of reality."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The work consists of two parts: 1."}, {"id": "11", "sentence": "The piece is voiced by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "11", "sentence": "The work was installed for a period at The Small Museum – a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "11", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "12", "sentence": "It was particularly of interested to us because of the way in which he focuses on the reproduction of music."}, {"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}, {"id": "12", "sentence": "It refers to the era of printed music (1500–1900)."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "He calls this chapter 'Represent' because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "At the time of writing it would have been quite prophetic."}, {"id": "12", "sentence": "Because of this ambiguity, we are interested in what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the 'Aalto Natives' at the Finnish Pavilion of the 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}, {"id": "13", "sentence": "Remco van Bladel grew up in the record store of his father."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "He sees it as punk, experimental, noise, investigative and critical, searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "14", "sentence": "It completely complimented our thinking around how to imagine the concept of composing and making scores."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}, {"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "Holzer often works through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}, {"id": "16", "sentence": "In the early 1960s, the composer Morton Subotnik employed engineer Don Buchla to help him create 'the music of the future'."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}, {"id": "17", "sentence": "The 'Event Scores' of George Brecht are still actual pieces."}, {"id": "17", "sentence": "He is inspiring for a lot of performance-based composers."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "18", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called 'cheironmy'."}, {"id": "18", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "20", "sentence": "In a multicultural situation, abstract sounds are forms of recognition; then there is, for example, music."}, {"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}, {"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "20", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "20", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "20", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "20", "sentence": "Improper uses of consumer electronics (e.g."}, {"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}, {"id": "20", "sentence": "Inspiration comes in the form of vocal poetry, 'poésie sonore' and text-sound composition."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "21", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}, {"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "21", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "21", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "21", "sentence": "Fersteinn works with the method of so-called 'animation'."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "22", "sentence": "Instead of using traditional musical scores during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "22", "sentence": "This technique of composing is performed by Guðmundur Steinn Gunnarsson and his quartet Fersteinn."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson has been part of DE PLAYER's programme with his quartet Fersteinn several times."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}, {"id": "22", "sentence": "The idea of 'anitation' and the work of Guðmundur Steinn Gunnarsson fits perfectly within 'Pushing Scores'."}, {"id": "22", "sentence": "He also used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}, {"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}, {"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}, {"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "24", "sentence": "According to Kreidler, the action, entitled 'Fremdarbeit', is intended to focus attention on the themes of exploitation and authorship."}, {"id": "24", "sentence": "Product Placements by Johannes Kreidler is a 10\" blue vinyl with poster and Xerox copies, edition of 150 pieces."}, {"id": "24", "sentence": "His way of composing has a multimedia conceptual approach, which is mostly linked with processes in society."}, {"id": "24", "sentence": "This makes it particularly interesting when viewed from the perspective of experimentation and unorthodox composing."}, {"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}, {"id": "24", "sentence": "Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}, {"id": "25", "sentence": "Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation."}, {"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "25", "sentence": "Ana Guedes' project 'UNTITLED RECORDS' fits into our idea of finding new ways to compose very seamlessly."}, {"id": "25", "sentence": "Her archival approach and its political and personal implications are the starting point of this work."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "26", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "26", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "26", "sentence": "The sonification of spider webs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "26", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}, {"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "26", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "27", "sentence": "What is the relationship between the sounds of mining and the community that surrounds them?"}, {"id": "27", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope."}, {"id": "27", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "27", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "27", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "27", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "27", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}, {"id": "27", "sentence": "Currently, Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}, {"id": "27", "sentence": "For this event, Kahn did some kind of improvisation session on the works of the three invited artists."}, {"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}, {"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "27", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "27", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "27", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "27", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "That's why I wanted to have a thread about the regeneration of mining areas."}, {"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}, {"id": "27", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste."}, {"id": "27", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "27", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "27", "sentence": "This was part of a test production of around 30,000 tons."}, {"id": "27", "sentence": "We can see layers of hematite."}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "27", "sentence": "The sound of the mine was always present."}, {"id": "27", "sentence": "I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "27", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "It's good for the human psyche to be reminded of that."}, {"id": "27", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them ."}, {"id": "27", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "27", "sentence": "Different types of stone give different frequency readings."}, {"id": "27", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "27", "sentence": "In practice it's quite mathematical, but it still it is part of the sound world too."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "27", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "27", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "27", "sentence": "I had hundreds of cassette tapes, mostly TDK."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "27", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "27", "sentence": "It’s a kind of sound alchemy."}, {"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "28", "sentence": "He is currently a sound designer at the Art Academy of Bologna, Italy."}, {"id": "28", "sentence": "Since the beginning of his practice, he has made extensive use of recorded sound."}, {"id": "28", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "28", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}, {"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "29", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}, {"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}, {"id": "30", "sentence": "The end titles of many black MIDI videos display how many notes are in the piece."}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}, {"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "Spectral Arrows' is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "31", "sentence": "One of Marco's most-known projects is called 'Black Mass Implosion'."}, {"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}, {"id": "32", "sentence": "Pushing Scores website launch and performance evening At the end of 2018, De Player approached Varia to develop a web-publication for their Pushing Scores project archive, which resulted in the current website."}, {"id": "32", "sentence": "The project investigated the state of the arts of composing scores in a contemporary environment and spanned over 2-3 years."}, {"id": "32", "sentence": "Varia contributed by developing an archival web publication where the vernacular vocabulary of De Player creates the possibilities of text-based navigation across the collection of items."}, {"id": "32", "sentence": "The material is embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "32", "sentence": "Navigating within the data structure of the archive becomes an act of score notation, and is thus based on subjective association and drifting."}, {"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}, {"id": "32", "sentence": "Robert Kroos made a setup that enabled him to respond to a multitude of parameters."}, {"id": "32", "sentence": "Robert Kroos (aka Duckfood) is a Rotterdam based musician, sound-artist and DJ working on all kinds of sound- and music related projects."}, {"id": "32", "sentence": "For this special event he used be using the guzheng and electronics as instruments of choice."}, {"id": "32", "sentence": "The individual lines of the staffs were movable by means of 5 handles which were amplified through contact mics."}, {"id": "32", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "32", "sentence": "Christine Cornwell one dot = one degree / one step / one word spoken This piece explores different layers of interpretation taken from the starting point of any archive-text-score."}, {"id": "32", "sentence": "It invited anyone to follow simple instructions to create a spatial representation of different people's individual navigations through the archive."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "continually": [{"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}], "reinterpretations": [{"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}], "sensual": [{"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}], "chants": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "11", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "18", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}], "Fil": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "HOLZER": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}], "clockwork": [{"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}], "engineer": [{"id": "16", "sentence": "In the early 1960s, the composer Morton Subotnik employed engineer Don Buchla to help him create 'the music of the future'."}], "sterile": [{"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}], "richer": [{"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}], "Light": [{"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}], "arts": [{"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}, {"id": "32", "sentence": "The project investigated the state of the arts of composing scores in a contemporary environment and spanned over 2-3 years."}], "Loaf": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "Matthieu": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "constantly": [{"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}], "amplified": [{"id": "05", "sentence": "The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "32", "sentence": "The individual lines of the staffs were movable by means of 5 handles which were amplified through contact mics."}], "composition": [{"id": "01", "sentence": "The 'E-ARTHHA' event is about the search for new interfaces and possibilities for sound composition, image and performance."}, {"id": "07", "sentence": "To complete the event we searched for two completely different approaches to composition."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "11", "sentence": "For this multi-vocal composition, Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "20", "sentence": "Inspiration comes in the form of vocal poetry, 'poésie sonore' and text-sound composition."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "24", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}, {"id": "24", "sentence": "This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "27", "sentence": "The composition follows a more or less linear path, starting with 'deep' time."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "Currently, Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "27", "sentence": "The composition follows a more or less linear path – starting with deep time."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}, {"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "UNTITLED": [{"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "25", "sentence": "Ana Guedes' project 'UNTITLED RECORDS' fits into our idea of finding new ways to compose very seamlessly."}], "Weller": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}], "softwares": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}], "grew": [{"id": "13", "sentence": "Remco van Bladel grew up in the record store of his father."}], "entrepreneur": [{"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}], "STATION": [{"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}], "gravity": [{"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "modular": [{"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}], "publisher": [{"id": "04", "sentence": "He is also an art book publisher (Onomatopee, Eindhoven, and WdW Review, Rotterdam)."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}], "sizes": [{"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}], "500": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "executed": [{"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}], "Singer": [{"id": "30", "sentence": "They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "playability": [{"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}], "not": [{"id": "04", "sentence": "It’s not a matter of an event between spectators and a musician– it’s a space to submit to a process."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "DE PLAYER: Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Kris Delacourt: Not really, at least not in this case."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it's own."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "07", "sentence": "In the case of the 'prepared record', the record or musical piece is not used as a reproductive technique."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "11", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}, {"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "18", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "23", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}, {"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}, {"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "27", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "27", "sentence": "It's not iron ore but lignite, 'braunkohle'."}, {"id": "27", "sentence": "It's not like wind or the sun, which give you immediate energy."}, {"id": "27", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "27", "sentence": "In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it ."}, {"id": "27", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "27", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "30", "sentence": "This not only counts for publishing but also for exploring new possibilities for artist practice in general."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "lapidary": [{"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}], "comprises": [{"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "gets": [{"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}], "Shots": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "collectively": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "maker": [{"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}], "prototype": [{"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}], "Another": [{"id": "24", "sentence": "Timbaland 'Another One Bites The Dust' by Queen vs."}], "Colbie": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "improvise": [{"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "does": [{"id": "05", "sentence": "Colson's works examine core questions: What power does art have to change us and our society?"}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "27", "sentence": "Where does mining stop?"}, {"id": "27", "sentence": "How much influence does it have on a community?"}], "blank": [{"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}], "Maxïmo": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "E-ARTHHA": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The 'E-ARTHHA' event is about the search for new interfaces and possibilities for sound composition, image and performance."}, {"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}], "Chen": [{"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "maybe": [{"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}], "segments": [{"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "He then reassembled these line segments into new shapes and new lines."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "Line segments which he reassembled into new shapes and new lines."}], "8-INCH": [{"id": "31", "sentence": "We got in touch with Marco Fusinato through our '8-INCH' series."}], "BOWTIE": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}], "1960s": [{"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "16", "sentence": "In the early 1960s, the composer Morton Subotnik employed engineer Don Buchla to help him create 'the music of the future'."}], "recent": [{"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "27", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}], "SE": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "JOHANNES BERGMARK (SE) Johannes Bergmark is a Fylkingen-affiliated sound artist, instrument builder and piano technician."}], "Architecture": [{"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}], "MacDiarmid": [{"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}], "organic": [{"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}], "Autumnsong": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}], "Many": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "entities": [{"id": "24", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}], "incorporated": [{"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}], "recording": [{"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "27", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "27", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "presentation": [{"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "07", "sentence": "On this evening, 'Resonanz' will be the starting point for a Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "For this evening event, 'Resonanz' will be the starting point of Q&A, demonstration and live presentation."}, {"id": "29", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "29", "sentence": "His presentation was a crossover between a lecture and a demonstration."}, {"id": "32", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}], "computing": [{"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}], "opposed": [{"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}], "wrongfully": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}], "life": [{"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}], "sixties": [{"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}], "ride": [{"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}], "result": [{"id": "02", "sentence": "The result is a combination of several media, which all coexist in a designed concrete object."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "Pretty nonsensical in a way, but it produced a really beautiful, and quite fragile, result."}, {"id": "06", "sentence": "Colson made two booklets in the 'Principium' series – comprised of reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "25", "sentence": "Because she uses and records the archive, the end result almost turns out to be a DJ set."}, {"id": "27", "sentence": "All to get to the desired result: The gold!"}, {"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}, {"id": "32", "sentence": "To engage with this potential, De Player and Varia asked several artists to work with the tool and use the result as a starting point for a performance."}], "1972": [{"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}], "awesome": [{"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}], "9": [{"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}], "body": [{"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}], "Leona": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "empty": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "27", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}], "Bleeding": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Besides": [{"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}], "agree": [{"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}], "Keyboard": [{"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "Historia": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "consent": [{"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "Finnendahl": [{"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}], "commercially": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}], "absurd": [{"id": "27", "sentence": "It's absurd when you start to think about it."}], "samplers": [{"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}], "switch": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}], "anticlimax": [{"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}], "wove": [{"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}, {"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "Why": [{"id": "06", "sentence": "Why was that?"}, {"id": "27", "sentence": "Why did people in the past settle in an environment like this?"}], "same": [{"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "It's an iron board and it has the same visuals as the sticker sheets."}, {"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "19", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "23", "sentence": "I think silence has that same relation with music."}, {"id": "23", "sentence": "Emptiness has that same relation with notation."}, {"id": "27", "sentence": "I did the same with coal."}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "It is based in Rotterdam in the same area that we operate in."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "contemplation": [{"id": "25", "sentence": "Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation."}], "nessecary": [{"id": "07", "sentence": "It is nessecary for evolution and survival."}], "scale": [{"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}], "recreate": [{"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}], "YANN": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}], "resulting": [{"id": "06", "sentence": "Interestingly, he thought his resulting collages would be nice to use as scores – and they probably would have been."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}], "then": [{"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "02", "sentence": "All these scores then had to come together in one magazine/object."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "He then reassembled these line segments into new shapes and new lines."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "Principium 2.0' is then another piece in step with the principle of Colson's original 'Principium'."}, {"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Kris Delacourt: If you force me to choose between those two, then drone."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "20", "sentence": "In a multicultural situation, abstract sounds are forms of recognition; then there is, for example, music."}, {"id": "21", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "27", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "32", "sentence": "He used a guzheng as a basis and then contact microphones to manipulate the sounds with software."}], "execute": [{"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}], "movement": [{"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}], "Serial": [{"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "History": [{"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}], "six-notes": [{"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}], "mystique": [{"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}], "Caput": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "increasing": [{"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}], "Eczema": [{"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "DE PLAYER: The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}], "television": [{"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "Boschat": [{"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}], "sent": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}], "treatment": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}], "ephemerality": [{"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}], "Layne": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}], "kill": [{"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "If you work against it, it will kill you."}], "explorative": [{"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}], "Rafaël": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "RAFAËL ROZENDAAL (NL) Rafaël Rozendaal is a visual artist who uses the Internet as his canvas."}, {"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "ephemeral": [{"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "26", "sentence": "The sonification of spider webs asserts a reverence for the environment, the beauty of the ephemeral and loss."}], "Until": [{"id": "07", "sentence": "Until I tried it."}], "Dearest": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "June": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "zoos": [{"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "matters": [{"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}], "coming": [{"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "encounter": [{"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}], "sheer": [{"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}], "engages": [{"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}], "enter": [{"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}], "prepared": [{"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "In the case of the 'prepared record', the record or musical piece is not used as a reproductive technique."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}], "Shirasagi": [{"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}], "Gonna": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "dig": [{"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "si": [{"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "A seventh note, 'si' or 'ti', was added later."}], "Portugal": [{"id": "25", "sentence": "Ana Guedes is a multidisciplinary artist from Portugal who lives and works in the Hague."}, {"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}], "strength": [{"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}], "many": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "27", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "30", "sentence": "The end titles of many black MIDI videos display how many notes are in the piece."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "spontaneity": [{"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}], "amazing": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job designing the packaging."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}], "staged": [{"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}, {"id": "10", "sentence": "Software being processed creates its own temporal and spatial dimensions, which are staged for a public."}], "mark": [{"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}], "album": [{"id": "06", "sentence": "DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "Does it feel like that for you too: As your first 'real' album, as a statement?"}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}], "programme": [{"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "08", "sentence": "The initiatives gather within a part of the programme called 'Intersections'."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson has been part of DE PLAYER's programme with his quartet Fersteinn several times."}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}], "believes": [{"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages throughout its history: 1."}], "contributing": [{"id": "07", "sentence": "Julia Bünnagel was also invited, under the guise of contributing a more physical input."}], "instantaneously": [{"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}], "Gnarls": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "Time": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "selection": [{"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}], "employed": [{"id": "16", "sentence": "In the early 1960s, the composer Morton Subotnik employed engineer Don Buchla to help him create 'the music of the future'."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}], "DOB": [{"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job designing the packaging."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB Records."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "Lætitia": [{"id": "11", "sentence": "For this multi-vocal composition, Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}], "communication": [{"id": "20", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}], "Hopi": [{"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}], "output": [{"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}], "silos": [{"id": "27", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}], "movable": [{"id": "32", "sentence": "The individual lines of the staffs were movable by means of 5 handles which were amplified through contact mics."}], "Eventually": [{"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}], "Bob": [{"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}], "VAGUE": [{"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}], "Official": [{"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}], "due": [{"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}], "standardised": [{"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}], "poured": [{"id": "04", "sentence": "They are cheap dummy books, onto which he poured ink in several colors."}], "interfaces": [{"id": "01", "sentence": "The 'E-ARTHHA' event is about the search for new interfaces and possibilities for sound composition, image and performance."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "Currently, Kahn is researching new interfaces and possibilities of sound composition, image and performance."}], "guzheng": [{"id": "32", "sentence": "He used a guzheng as a basis and then contact microphones to manipulate the sounds with software."}, {"id": "32", "sentence": "For this special event he used be using the guzheng and electronics as instruments of choice."}], "language": [{"id": "10", "sentence": "Her score was made on the spot with programming language; a sort of live coding."}, {"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "20", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "20", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "23", "sentence": "Before language there was the song."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "slivers": [{"id": "27", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}], "fragile": [{"id": "06", "sentence": "Pretty nonsensical in a way, but it produced a really beautiful, and quite fragile, result."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "09", "sentence": "As another example, Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}], "Abuses": [{"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}], "downloadable": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}], "attitude": [{"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}], "stay": [{"id": "06", "sentence": "If something was interesting for a while, but didn't stay interesting, it had to go."}], "depicting": [{"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "Husk": [{"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}], "Henry": [{"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}, {"id": "27", "sentence": "The musique concrète, as developed by Henry at GRM, was made by magnetic tape."}], "hands": [{"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "15", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "focus": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "At every level of detail, the everyday sound of our urban surroundings is the focus of his work."}, {"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "24", "sentence": "According to Kreidler, the action, entitled 'Fremdarbeit', is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}], "She": [{"id": "07", "sentence": "She is part of the sound art collective Sculptress of Sound."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called 'telephone adapters'."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "25", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "She presented her project entitled 'Arachnes Sonifier', in which she captures and makes audible spider webs."}, {"id": "26", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "She still stores coal there in a small outhouse (called 'kullbingen')."}, {"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}], "DJ": [{"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "25", "sentence": "Because she uses and records the archive, the end result almost turns out to be a DJ set."}, {"id": "32", "sentence": "Robert Kroos (aka Duckfood) is a Rotterdam based musician, sound-artist and DJ working on all kinds of sound- and music related projects."}], "recorder": [{"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}], "That": [{"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "That's quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "That's just another way of letting things go, of giving up control."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}, {"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}, {"id": "27", "sentence": "That's why I wanted to have a thread about the regeneration of mining areas."}, {"id": "27", "sentence": "That is quite scary."}], "developments": [{"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}], "aligned": [{"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}], "advertised": [{"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}], "series": [{"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "06", "sentence": "Colson made two booklets in the 'Principium' series – comprised of reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "07", "sentence": "TELCOSYSTEMS (NL) Telcosystems presents 'Resonanz', an electronic book combining a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "With 'Resonanz', Telcosystems presents an electronic book that combines a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "22", "sentence": "He also used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "31", "sentence": "Spectral Arrows' is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "31", "sentence": "We got in touch with Marco Fusinato through our '8-INCH' series."}, {"id": "31", "sentence": "Fusinato's 'Mass Black Implosion' series began in 2007."}], "geologists": [{"id": "27", "sentence": "Through soundwaves geologists are able to map what is underground."}], "Hanover": [{"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}], "abroad": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}], "Contemporary": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}], "interference": [{"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}], "Julie": [{"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}], "latinLit": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "dismissed": [{"id": "07", "sentence": "Resonanz' is an electronic book that I had first dismissed."}], "into": [{"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Later on, this developed into the type of musical notation we are familiar with in Western music."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "He then reassembled these line segments into new shapes and new lines."}, {"id": "06", "sentence": "Line segments which he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}, {"id": "10", "sentence": "It was a good concert and her way of working fit into our ideas of exploring graphic scores very well."}, {"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "13", "sentence": "It was an investigation into methodologies within his own artistic practice."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology and national security."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "25", "sentence": "Ana Guedes' project 'UNTITLED RECORDS' fits into our idea of finding new ways to compose very seamlessly."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "27", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}, {"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}, {"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "Pieces": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Currently": [{"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}, {"id": "27", "sentence": "Currently, Kahn is researching new interfaces and possibilities of sound composition, image and performance."}], "Crush": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "interactive": [{"id": "04", "sentence": "His studio work focuses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "11", "sentence": "An interactive graphic score/light box/kinetic work fixed inside the cabinet, and 2."}, {"id": "13", "sentence": "His studio focuses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "32", "sentence": "Niek built an interactive installation, which can be summarized as a portable music staff where the actual scores/notes were hung on like a washing line."}], "vacuum": [{"id": "27", "sentence": "It created a vacuum after it closed."}], "varied": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}], "contentment": [{"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}], "determine": [{"id": "20", "sentence": "The style and/or genre determine the identity."}, {"id": "27", "sentence": "By physically interacting with the stone you can determine what material it is."}], "strongly": [{"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}], "Sláturtíð": [{"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "and took part in founding its festival Sláturtíð."}], "marvelling": [{"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}], "Office": [{"id": "06", "sentence": "Office material really, those colourful little dots."}], "participants": [{"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}], "functioned": [{"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the working process."}], "undertake": [{"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}], "fragments": [{"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}], "authorship": [{"id": "24", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "24", "sentence": "According to Kreidler, the action, entitled 'Fremdarbeit', is intended to focus attention on the themes of exploitation and authorship."}], "TDK": [{"id": "27", "sentence": "I had hundreds of cassette tapes, mostly TDK."}], "random": [{"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "And since I'm a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}], "civilisation": [{"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}], "origins": [{"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}], "Roberto": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "Directorate": [{"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}], "documentary": [{"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}], "Arezzo": [{"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}], "privately": [{"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}], "outcomes": [{"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}], "swarms": [{"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "ambition": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}], "presenting": [{"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "22", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}], "brief": [{"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}], "Potassium": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Shoulder": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Bring": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "phenomenon": [{"id": "01", "sentence": "Throughout 2016, 2017 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "25", "sentence": "This 'other way' to come to sound is an interesting phenomenon."}], "vernacular": [{"id": "32", "sentence": "Varia contributed by developing an archival web publication where the vernacular vocabulary of De Player creates the possibilities of text-based navigation across the collection of items."}], "available": [{"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}], "wind": [{"id": "27", "sentence": "It's not like wind or the sun, which give you immediate energy."}], "organ": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}], "Voice": [{"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "reside": [{"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}], "circumstances": [{"id": "27", "sentence": "Were they forced up North by circumstances?"}], "signed": [{"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "represent": [{"id": "12", "sentence": "Because of this ambiguity, we are interested in what this stage of music could represent."}, {"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}], "oscilloscope": [{"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "On the live oscilloscope concert Holzer states, 'The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}], "mysterious": [{"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}], "partly": [{"id": "31", "sentence": "This creates strong graphic works and partly blackens out the original score."}], "representations": [{"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}], "Right": [{"id": "24", "sentence": "The Ping Pong Song)' by Enrique Iglesias 'Doing It Right' by The Go!"}], "Hour": [{"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}], "ever-changing": [{"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}], "otherwise": [{"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}], "Goodiepal": [{"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}], "appeal": [{"id": "06", "sentence": "There’s something appealing in the number twelve even, and there's the appeal of building instruments too."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}], "Elvis": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "Team 'Don't' by Elvis Presley With The Jordanaires 'Don't Dance' by Midas 'Don't Give It Up' by Siobhan Donaghy"}], "Tungsten": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "periphery": [{"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}], "go": [{"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "If something was interesting for a while, but didn't stay interesting, it had to go."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "Art is letting things go, let it flow."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "That's just another way of letting things go, of giving up control."}, {"id": "27", "sentence": "Sometimes this can go horribly wrong."}], "basis": [{"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "32", "sentence": "He used a guzheng as a basis and then contact microphones to manipulate the sounds with software."}], "transpose": [{"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}], "courses": [{"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}], "GesammttkkunnsttMeshuggahhLaandtttt": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}], "precursor": [{"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}], "aspirations": [{"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}], "Using": [{"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}], "display": [{"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}, {"id": "30", "sentence": "The end titles of many black MIDI videos display how many notes are in the piece."}], "dot": [{"id": "32", "sentence": "Christine Cornwell one dot = one degree / one step / one word spoken This piece explores different layers of interpretation taken from the starting point of any archive-text-score."}], "favourite": [{"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}], "overlapping": [{"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}, {"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}], "First": [{"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}], "sold": [{"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "Kris Delacourt: The 10\" records have all been sold as well, so they sit somewhere in the middle."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}], "senior": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}], "18": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "detonation": [{"id": "27", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}], "horizon": [{"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}], "Karaoke": [{"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "Party": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "consciousness": [{"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}], "broadcasts": [{"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "He also made periodic broadcasts from his own home."}], "call": [{"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}], "ANTWERP": [{"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}], "George": [{"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "The 'Event Scores' of George Brecht are still actual pieces."}, {"id": "26", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}], "facing": [{"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}], "Low": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "extreme": [{"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}], "ambiguity": [{"id": "12", "sentence": "Because of this ambiguity, we are interested in what this stage of music could represent."}], "Agenda": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "booklet": [{"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}], "Maffia": [{"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}], "instance": [{"id": "06", "sentence": "But Vaast, for instance, refuses to regard it as his doing."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}], "Records": [{"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB Records."}, {"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}], "young": [{"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}], "5": [{"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "28", "sentence": "John Duncan took part in our event on 5 Oct 2018."}, {"id": "32", "sentence": "The individual lines of the staffs were movable by means of 5 handles which were amplified through contact mics."}], "foreign": [{"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}], "eighth": [{"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}], "visuals": [{"id": "06", "sentence": "It's an iron board and it has the same visuals as the sticker sheets."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "ahead": [{"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}], "list": [{"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}], "aspect": [{"id": "04", "sentence": "Every aspect of his work deals with the quality of sound."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}], "Director": [{"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "narratives": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}], "servant": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}], "liberation": [{"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}], "position": [{"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}], "just": [{"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "It just rang as very poetic to me."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to Morse code."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "They were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}, {"id": "06", "sentence": "They're just new pieces in their own right."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "That's just another way of letting things go, of giving up control."}, {"id": "27", "sentence": "The mountain just sits there."}, {"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "27", "sentence": "It just turned out that way, perhaps because that's how we generally tend to structure material."}], "constructed": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}], "beautiful": [{"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "Pretty nonsensical in a way, but it produced a really beautiful, and quite fragile, result."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}], "tapes": [{"id": "27", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "27", "sentence": "I had hundreds of cassette tapes, mostly TDK."}], "studios": [{"id": "27", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "27", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}], "trillion": [{"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}], "claim": [{"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}], "Rhythm": [{"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}], "New": [{"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}, {"id": "20", "sentence": "New generations are born."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "Fair": [{"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}], "hidden": [{"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "I'm very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "open": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}, {"id": "21", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained."}, {"id": "27", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "27", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}], "theory": [{"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}, {"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}], "Jack": [{"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}], "Seeley": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "associate": [{"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}], "arranged": [{"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}], "prints": [{"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}], "Despite": [{"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}], "shipped": [{"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}], "status": [{"id": "26", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}], "retain": [{"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}], "values": [{"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}], "cultural": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages throughout its history: 1."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "course": [{"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "27", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}], "air": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "inventive": [{"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}], "designers": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "Down": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "mid-twentieth": [{"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}], "foundation": [{"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}], "Silence": [{"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "figures": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}], "noisette": [{"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}], "participatory": [{"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}], "Fremdarbeit": [{"id": "24", "sentence": "According to Kreidler, the action, entitled 'Fremdarbeit', is intended to focus attention on the themes of exploitation and authorship."}], "Arnaud": [{"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}], "relate": [{"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "27", "sentence": "It doesn't relate directly to mining, but it extends the project to include geology, deep time and stone."}], "Piringer": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "19", "sentence": "Jörg Piringer has contributed to Each One, a 10\" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}], "man-made": [{"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}], "instead": [{"id": "06", "sentence": "Yet I felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "21", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "27", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}], "text": [{"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "20", "sentence": "Inspiration comes in the form of vocal poetry, 'poésie sonore' and text-sound composition."}, {"id": "32", "sentence": "Varia contributed by developing an archival web publication where the vernacular vocabulary of De Player creates the possibilities of text-based navigation across the collection of items."}, {"id": "32", "sentence": "Christine Cornwell one dot = one degree / one step / one word spoken This piece explores different layers of interpretation taken from the starting point of any archive-text-score."}], "Wijk": [{"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "concentrate": [{"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}], "regarded": [{"id": "24", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}], "Its": [{"id": "27", "sentence": "Theodore Ziolkowski, 'German Romanticism and Its Institutions', Princeton University Press, 1990, p.34."}], "muted": [{"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}], "destroys": [{"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}], "possibility": [{"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "summarized": [{"id": "32", "sentence": "Niek built an interactive installation, which can be summarized as a portable music staff where the actual scores/notes were hung on like a washing line."}], "explained": [{"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}], "27": [{"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}], "immediate": [{"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "27", "sentence": "It's not like wind or the sun, which give you immediate energy."}], "shifting": [{"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}], "raped": [{"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "point": [{"id": "04", "sentence": "These books were the starting point for curating the event, which subsequently sat within our 'Pushing Scores' project."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "07", "sentence": "On this evening, 'Resonanz' will be the starting point for a Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "For this evening event, 'Resonanz' will be the starting point of Q&A, demonstration and live presentation."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "25", "sentence": "Her archival approach and its political and personal implications are the starting point of this work."}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}, {"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}, {"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}, {"id": "32", "sentence": "To engage with this potential, De Player and Varia asked several artists to work with the tool and use the result as a starting point for a performance."}, {"id": "32", "sentence": "Christine Cornwell one dot = one degree / one step / one word spoken This piece explores different layers of interpretation taken from the starting point of any archive-text-score."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "multi-instrumentalists": [{"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}], "mythologising": [{"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}], "Clothes": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Republic": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}, {"id": "27", "sentence": "Both in active mines and in the abandoned mines and buildings surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "27", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}], "learning": [{"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpart to his own musical input."}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}], "won": [{"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}], "nearly": [{"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}], "Rock": [{"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}], "Holloways": [{"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}], "did": [{"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job designing the packaging."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}, {"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}, {"id": "27", "sentence": "For this event, Kahn did some kind of improvisation session on the works of the three invited artists."}, {"id": "27", "sentence": "I did the same with coal."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "27", "sentence": "Why did people in the past settle in an environment like this?"}], "vertical": [{"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "predilection": [{"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}], "Piksel": [{"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}], "room": [{"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}, {"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}], "Ne-Yo": [{"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "MAT": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}], "Uses": [{"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}], "Lisa": [{"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}], "added": [{"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "07", "sentence": "All had worked with the medium of the vinyl record and added a new use/application."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "A seventh note, 'si' or 'ti', was added later."}], "like": [{"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "06", "sentence": "Shit like that, really great stuff."}, {"id": "06", "sentence": "Yet I felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So the C note runs for tens minutes and the B note is something like five minutes and twenty seconds."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "Does it feel like that for you too: As your first 'real' album, as a statement?"}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "27", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "It's not like wind or the sun, which give you immediate energy."}, {"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "27", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "27", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "27", "sentence": "Listening underground is like reading the environment."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}, {"id": "32", "sentence": "Niek built an interactive installation, which can be summarized as a portable music staff where the actual scores/notes were hung on like a washing line."}], "MIT": [{"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}], "Carolyna": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "whole": [{"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "Were there people who actually listened to the whole eight-hour performance?"}, {"id": "06", "sentence": "Kris Delacourt: There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}], "0": [{"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "06", "sentence": "We first encountered 'Principium 1.0'."}, {"id": "06", "sentence": "This resulted in 'Principium 2.0'."}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "Principium 2.0' is then another piece in step with the principle of Colson's original 'Principium'."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "The interview was conducted after he exhibited 'Principium 2.0' in an installation setting at Stadslimiet, Antwerp."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "audio-visual": [{"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}], "tied": [{"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}], "Wolfsberger": [{"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}], "Berlin": [{"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "10", "sentence": "The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}], "interwoven": [{"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}], "general": [{"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}, {"id": "30", "sentence": "This not only counts for publishing but also for exploring new possibilities for artist practice in general."}], "reminds": [{"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}], "merely": [{"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "06", "sentence": "Yet I felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}], "Drip": [{"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}], "minimal": [{"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}], "hand": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "26", "sentence": "When the webs are harvested, my hand affects their original form."}], "aim": [{"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}], "extra-musical": [{"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}], "century": [{"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "02", "sentence": "‘Fred Flintstone meets the twenty-first century’, it was referred to as."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "In the eleventh century, Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "Boogie": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "B": [{"id": "06", "sentence": "So the C note runs for tens minutes and the B note is something like five minutes and twenty seconds."}], "but": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}, {"id": "06", "sentence": "He was intrigued by the invitation, but it took a long time to develop."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "Pretty nonsensical in a way, but it produced a really beautiful, and quite fragile, result."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "If something was interesting for a while, but didn't stay interesting, it had to go."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}, {"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}, {"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "It doesn't relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "27", "sentence": "It's not iron ore but lignite, 'braunkohle'."}, {"id": "27", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "27", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "27", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "27", "sentence": "In practice it's quite mathematical, but it still it is part of the sound world too."}, {"id": "30", "sentence": "This not only counts for publishing but also for exploring new possibilities for artist practice in general."}, {"id": "30", "sentence": "In that sense, there is never a perfect reproduction but always an interpretation."}, {"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "31", "sentence": "A huge public announcement system was in the office blazing loud, but very articulated sound."}], "sphalerite": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Studio": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "30", "sentence": "They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "credibility": [{"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}], "Friedrich": [{"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "slurry": [{"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}], "handles": [{"id": "32", "sentence": "The individual lines of the staffs were movable by means of 5 handles which were amplified through contact mics."}], "fraternies": [{"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}], "AN": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}], "Gareth": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "submitted": [{"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}], "Western": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Later on, this developed into the type of musical notation we are familiar with in Western music."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}], "Dagger": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "emotions": [{"id": "05", "sentence": "What emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}], "serves": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}], "conductor": [{"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}], "continuity": [{"id": "04", "sentence": "These works deal with continuity and endless accessibility."}], "lengths": [{"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}], "extraordinary": [{"id": "07", "sentence": "Julia's solo live performances primarily refer to the modified vinyl records that produce extraordinary sounds."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "widest": [{"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}], "would": [{"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "06", "sentence": "Interestingly, he thought his resulting collages would be nice to use as scores – and they probably would have been."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "In this way you would end up with all different records, each one an original."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or perhaps you would perceive it as a failure if it weren't enjoyable without the concept?"}, {"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "12", "sentence": "At the time of writing it would have been quite prophetic."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}], "dimension": [{"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "Clàudia": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "Soulja": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "68": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "compiled": [{"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}], "transparent": [{"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}], "studio": [{"id": "04", "sentence": "His studio work focuses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "His studio focuses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}], "non-pulse": [{"id": "22", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}], "helped": [{"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}], "detuning": [{"id": "01", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}], "convinced": [{"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}], "owner": [{"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}], "strangely": [{"id": "07", "sentence": "It's strangely hypnotising."}], "adviser": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}], "LuckyPDF": [{"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "It": [{"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "02", "sentence": "It has a Raspberry Pi sits at its core, and is programmed for several applications."}, {"id": "04", "sentence": "It’s not a matter of an event between spectators and a musician– it’s a space to submit to a process."}, {"id": "05", "sentence": "It is a complex work that nevertheless manages to remain simple and accessible in its final execution."}, {"id": "06", "sentence": "It was presented at Stadslimiet, Antwerp, as an installation piece on 2 Jul 2015."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "It just rang as very poetic to me."}, {"id": "06", "sentence": "It's an iron board and it has the same visuals as the sticker sheets."}, {"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "It's meant to be in a continued state of flux."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}, {"id": "06", "sentence": "It really was a one-time event, with the vinyls functioning as a tool, yes."}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "07", "sentence": "It's strangely hypnotising."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "10", "sentence": "It was a good concert and her way of working fit into our ideas of exploring graphic scores very well."}, {"id": "12", "sentence": "It was particularly of interested to us because of the way in which he focuses on the reproduction of music."}, {"id": "12", "sentence": "It refers to the era of printed music (1500–1900)."}, {"id": "13", "sentence": "It was an investigation into methodologies within his own artistic practice."}, {"id": "14", "sentence": "It completely complimented our thinking around how to imagine the concept of composing and making scores."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}, {"id": "18", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called 'cheironmy'."}, {"id": "20", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "22", "sentence": "It results in very delicate and unconventional chamber music."}, {"id": "22", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}, {"id": "24", "sentence": "The Ping Pong Song)' by Enrique Iglesias 'Doing It Right' by The Go!"}, {"id": "24", "sentence": "Team 'Don't' by Elvis Presley With The Jordanaires 'Don't Dance' by Midas 'Don't Give It Up' by Siobhan Donaghy"}, {"id": "27", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "It doesn't relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "27", "sentence": "It's not iron ore but lignite, 'braunkohle'."}, {"id": "27", "sentence": "It is a vast scar in the landscape, and really an incredible place."}, {"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "27", "sentence": "It is important for companies to manage this."}, {"id": "27", "sentence": "It just turned out that way, perhaps because that's how we generally tend to structure material."}, {"id": "27", "sentence": "It's absurd when you start to think about it."}, {"id": "27", "sentence": "It's not like wind or the sun, which give you immediate energy."}, {"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "27", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "27", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "27", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "27", "sentence": "It created a vacuum after it closed."}, {"id": "27", "sentence": "It's good for the human psyche to be reminded of that."}, {"id": "27", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "27", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "27", "sentence": "It’s a kind of sound alchemy."}, {"id": "29", "sentence": "It is based in Rotterdam in the same area that we operate in."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "32", "sentence": "It invited anyone to follow simple instructions to create a spatial representation of different people's individual navigations through the archive."}], "fundamental": [{"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}], "steel": [{"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "emotional": [{"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}], "purely": [{"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}], "MIDIs": [{"id": "30", "sentence": "People who make black MIDIs are known as 'blackers'."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "multicultural": [{"id": "20", "sentence": "In a multicultural situation, abstract sounds are forms of recognition; then there is, for example, music."}], "entire": [{"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "13", "sentence": "The entire 'Pushing Scores' project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "Marclay": [{"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}], "thing": [{"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, which determines the rhythm."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "Kris Delacourt: There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "Kris Delacourt: I do look at it as a solo thing."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}], "worthwhile": [{"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}], "problematic": [{"id": "05", "sentence": "The commercial potential and its associated value assessment are problematic for Colson."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "underlying": [{"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}], "evolving": [{"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}, {"id": "06", "sentence": "Kris Delacourt: Oh, I think it's definitely something that's still evolving."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}], "abandoned": [{"id": "27", "sentence": "Both in active mines and in the abandoned mines and buildings surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "Jun": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}], "2006": [{"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}], "21": [{"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}], "octaves": [{"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}], "affecting": [{"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "records": [{"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "06", "sentence": "Together, all twelve records form the complete set, which one 'game' requires."}, {"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "06", "sentence": "In this way you would end up with all different records, each one an original."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "Kris Delacourt: The 10\" records have all been sold as well, so they sit somewhere in the middle."}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Julia's solo live performances primarily refer to the modified vinyl records that produce extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "25", "sentence": "Because she uses and records the archive, the end result almost turns out to be a DJ set."}, {"id": "31", "sentence": "For this we published 8\" records with artists and labels."}], "meant": [{"id": "06", "sentence": "It's meant to be in a continued state of flux."}], "individual": [{"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "32", "sentence": "The individual lines of the staffs were movable by means of 5 handles which were amplified through contact mics."}, {"id": "32", "sentence": "It invited anyone to follow simple instructions to create a spatial representation of different people's individual navigations through the archive."}], "light-sensitive": [{"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}], "CAN": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "rhythm": [{"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, which determines the rhythm."}, {"id": "13", "sentence": "He sees it as punk, experimental, noise, investigative and critical, searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}], "Gym": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "François": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}], "ended": [{"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}], "Gods": [{"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "quote": [{"id": "06", "sentence": "And how would you relate this quote to your LP?"}], "Hits": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}], "God": [{"id": "23", "sentence": "Before God needed to be invented there were man."}], "enough": [{"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "27", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}], "Bennett": [{"id": "04", "sentence": "JUSTIN BENNETT (UK) Justin Bennett is an artist working with sound and visual media."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "amateurs": [{"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}], "Him": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "paste": [{"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}], "throughout": [{"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages throughout its history: 1."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}], "strong": [{"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "31", "sentence": "This creates strong graphic works and partly blackens out the original score."}], "computational": [{"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}], "Has": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "format": [{"id": "02", "sentence": "This is a magazine without any format, with the intention for a new one to be developed each time."}, {"id": "02", "sentence": "This was put in place to both limit possibilities and to unite the format."}, {"id": "06", "sentence": "DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}], "definitive": [{"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}], "voltage": [{"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}], "mountain": [{"id": "27", "sentence": "The mountain just sits there."}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}], "fixed": [{"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "11", "sentence": "An interactive graphic score/light box/kinetic work fixed inside the cabinet, and 2."}], "DE": [{"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}, {"id": "06", "sentence": "DE PLAYER: Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "06", "sentence": "DE PLAYER: The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "DE PLAYER: Do you see this as a drone record?"}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson has been part of DE PLAYER's programme with his quartet Fersteinn several times."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}], "spraying": [{"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}], "enlarge": [{"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}], "revolves": [{"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}], "Change": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "cts": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "possibly": [{"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}], "computers": [{"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}, {"id": "10", "sentence": "By writing choreographies for software and computer elements, she utilises these technologies as actors in software/noise pieces for, and in, computers."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}], "Los": [{"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}], "reflect": [{"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}], "exist": [{"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}], "Chain": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "splitting": [{"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}], "Ball": [{"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}], "twentieth": [{"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "know": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I could have gone for something more 'correct' in terms of concept – I don't know, pure sine waves or something."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "I don't know."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}], "indeterminable": [{"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}], "Paik": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "Bøtcher": [{"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}], "in": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on, this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media to this day."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "02", "sentence": "We worked around the ideas present in our 'Pushing Scores' project."}, {"id": "02", "sentence": "All these scores then had to come together in one magazine/object."}, {"id": "02", "sentence": "This was put in place to both limit possibilities and to unite the format."}, {"id": "02", "sentence": "The result is a combination of several media, which all coexist in a designed concrete object."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "They are intensified visual and audio perceptions in a specific space."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "04", "sentence": "They are cheap dummy books, onto which he poured ink in several colors."}, {"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "05", "sentence": "The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself."}, {"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "05", "sentence": "It is a complex work that nevertheless manages to remain simple and accessible in its final execution."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "What emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "He opens up the artistic field to explore what is happening in the art world."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "This resulted in 'Principium 2.0'."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Pretty nonsensical in a way, but it produced a really beautiful, and quite fragile, result."}, {"id": "06", "sentence": "Colson made two booklets in the 'Principium' series – comprised of reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "Principium 2.0' is then another piece in step with the principle of Colson's original 'Principium'."}, {"id": "06", "sentence": "The interview was conducted after he exhibited 'Principium 2.0' in an installation setting at Stadslimiet, Antwerp."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": ", that I went in that direction."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "It's meant to be in a continued state of flux."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "And since I'm a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "There's something appealing in using a single octave as a building block."}, {"id": "06", "sentence": "There’s something appealing in the number twelve even, and there's the appeal of building instruments too."}, {"id": "06", "sentence": "Kris Delacourt: Not really, at least not in this case."}, {"id": "06", "sentence": "Kris Delacourt: You do it in short sessions, hah."}, {"id": "06", "sentence": "That's quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}, {"id": "06", "sentence": "I could have gone for something more 'correct' in terms of concept – I don't know, pure sine waves or something."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "Kris Delacourt: The 10\" records have all been sold as well, so they sit somewhere in the middle."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "They're just new pieces in their own right."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "So I don't think I belong in the conceptual art section."}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The usual code of the record, as defined by the music industry, was broken in all works."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}, {"id": "09", "sentence": "As another example, Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART x JUBILEE event in 2017."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}, {"id": "10", "sentence": "VALENTINA VUKSIC (CH/NL) Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "By writing choreographies for software and computer elements, she utilises these technologies as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "The invitation was perfectly suited for a project in public space that he had in mind for 'Pushing Scores'."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century, Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "It was particularly of interested to us because of the way in which he focuses on the reproduction of music."}, {"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Because of this ambiguity, we are interested in what this stage of music could represent."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "The entire 'Pushing Scores' project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer based in Amsterdam."}, {"id": "13", "sentence": "Remco van Bladel grew up in the record store of his father."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "15", "sentence": "This has led to a new interest in analogue processes or 'dirty hands' art."}, {"id": "15", "sentence": "Holzer often works through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "18", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "19", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}, {"id": "19", "sentence": "For this he developed specific software that generates poetry in spoken-word form."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "20", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "20", "sentence": "Signification also plays a major role in this."}, {"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "20", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "20", "sentence": "Inspiration comes in the form of vocal poetry, 'poésie sonore' and text-sound composition."}, {"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "21", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "It results in very delicate and unconventional chamber music."}, {"id": "22", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "22", "sentence": "and took part in founding its festival Sláturtíð."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "23", "sentence": "Before the song there was the yodel,' As Bart Plantenga stated in his reading on yodeling."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}, {"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}, {"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}, {"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "24", "sentence": "His way of composing has a multimedia conceptual approach, which is mostly linked with processes in society."}, {"id": "24", "sentence": "This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "Ana Guedes is a multidisciplinary artist from Portugal who lives and works in the Hague."}, {"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}, {"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "26", "sentence": "She presented her project entitled 'Arachnes Sonifier', in which she captures and makes audible spider webs."}, {"id": "26", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}, {"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}, {"id": "26", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}, {"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "27", "sentence": "Both in active mines and in the abandoned mines and buildings surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}, {"id": "27", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "27", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}, {"id": "27", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}, {"id": "27", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "27", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "27", "sentence": "She still stores coal there in a small outhouse (called 'kullbingen')."}, {"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "27", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "27", "sentence": "It is a vast scar in the landscape, and really an incredible place."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "I'm very interested in the hidden layers and history the landscape."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "So much time is compressed in this material and it's burned up in minutes."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}, {"id": "27", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "27", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them ."}, {"id": "27", "sentence": "What shifts happened in the past?"}, {"id": "27", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "27", "sentence": "Far down in the Earth the rock is actually moving."}, {"id": "27", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "27", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "27", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "28", "sentence": "John Duncan took part in our event on 5 Oct 2018."}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}, {"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "28", "sentence": "Duncan also often works with Carl Michael Hausswolff, who is an expert in EVP."}, {"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "28", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}, {"id": "29", "sentence": "It is based in Rotterdam in the same area that we operate in."}, {"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "29", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "This not only counts for publishing but also for exploring new possibilities for artist practice in general."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "This one is a pretty contemporary example and results in great imagery and sound."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}, {"id": "30", "sentence": "The end titles of many black MIDI videos display how many notes are in the piece."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}, {"id": "31", "sentence": "We got in touch with Marco Fusinato through our '8-INCH' series."}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}, {"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}, {"id": "31", "sentence": "A huge public announcement system was in the office blazing loud, but very articulated sound."}, {"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "31", "sentence": "Fusinato's 'Mass Black Implosion' series began in 2007."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}, {"id": "32", "sentence": "Pushing Scores website launch and performance evening At the end of 2018, De Player approached Varia to develop a web-publication for their Pushing Scores project archive, which resulted in the current website."}, {"id": "32", "sentence": "The project investigated the state of the arts of composing scores in a contemporary environment and spanned over 2-3 years."}, {"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}, {"id": "32", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}, {"id": "32", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "32", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}], "transcriptions": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "example": [{"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "As another example, Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}, {"id": "19", "sentence": "For example, his work 'frakativ' is an electronic visual sound poetry performance."}, {"id": "20", "sentence": "In a multicultural situation, abstract sounds are forms of recognition; then there is, for example, music."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}, {"id": "30", "sentence": "This one is a pretty contemporary example and results in great imagery and sound."}], "metal": [{"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}, {"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}], "both": [{"id": "02", "sentence": "This was put in place to both limit possibilities and to unite the format."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}, {"id": "06", "sentence": "I guess I am aiming for the best of both worlds there."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "20", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "27", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "terms": [{"id": "06", "sentence": "I could have gone for something more 'correct' in terms of concept – I don't know, pure sine waves or something."}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}], "geological": [{"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}], "unveil": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}], "way": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "06", "sentence": "Pretty nonsensical in a way, but it produced a really beautiful, and quite fragile, result."}, {"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "In this way you would end up with all different records, each one an original."}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "That's just another way of letting things go, of giving up control."}, {"id": "10", "sentence": "It was a good concert and her way of working fit into our ideas of exploring graphic scores very well."}, {"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "12", "sentence": "It was particularly of interested to us because of the way in which he focuses on the reproduction of music."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}, {"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "22", "sentence": "In that way, the most irregular things can become very intelligible."}, {"id": "24", "sentence": "His way of composing has a multimedia conceptual approach, which is mostly linked with processes in society."}, {"id": "25", "sentence": "This 'other way' to come to sound is an interesting phenomenon."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "It just turned out that way, perhaps because that's how we generally tend to structure material."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}], "foil": [{"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}], "sucker": [{"id": "06", "sentence": "And since I'm a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}], "explore": [{"id": "05", "sentence": "He opens up the artistic field to explore what is happening in the art world."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}], "Fergie": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Midas": [{"id": "24", "sentence": "Team 'Don't' by Elvis Presley With The Jordanaires 'Don't Dance' by Midas 'Don't Give It Up' by Siobhan Donaghy"}], "continued": [{"id": "06", "sentence": "It's meant to be in a continued state of flux."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}], "imagined": [{"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}], "solely": [{"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}], "ear": [{"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}], "stuck": [{"id": "24", "sentence": "The system was therefore completely stuck."}], "confection": [{"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}], "magnet": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}], "Ellis-Bextor": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "automatic": [{"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}], "observing": [{"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}], "Murmansk": [{"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "interpret": [{"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}], "Brothers": [{"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}], "mid-1980s": [{"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "broader": [{"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}], "Mesias": [{"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}], "splatter-chords": [{"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "Huelkorven": [{"id": "19", "sentence": "He is also involved in the online poetry platform Huelkorven."}], "seventies": [{"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}], "Sometimes": [{"id": "06", "sentence": "Sometimes I preferred elements because of harmonic information, notes that work well together, sometimes because of rhythms that worked well, etc."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "27", "sentence": "Sometimes this can go horribly wrong."}], "materialisation": [{"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}], "nature": [{"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "09", "sentence": "As another example, Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "27", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "You can only survive there if you work with nature."}, {"id": "27", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them ."}, {"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}], "Seasons": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "tape": [{"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}, {"id": "27", "sentence": "The musique concrète, as developed by Henry at GRM, was made by magnetic tape."}, {"id": "27", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "27", "sentence": "Magnetic tape was the medium of my youth."}], "Meat": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}, {"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}], "Chamber": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "environment": [{"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "26", "sentence": "The sonification of spider webs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "27", "sentence": "Listening underground is like reading the environment."}, {"id": "29", "sentence": "Varia has developed a context and technical environment as a web-based archival publication."}, {"id": "32", "sentence": "The project investigated the state of the arts of composing scores in a contemporary environment and spanned over 2-3 years."}], "see": [{"id": "01", "sentence": "Just so you can see them day and night, for roughly three weeks long."}, {"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "DE PLAYER: Do you see this as a drone record?"}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "27", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "27", "sentence": "We can see layers of hematite."}, {"id": "27", "sentence": "What shifts will we see?"}], "Adapter": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "community": [{"id": "06", "sentence": "Join the community."}, {"id": "26", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "What is the relationship between the sounds of mining and the community that surrounds them?"}, {"id": "27", "sentence": "How much influence does it have on a community?"}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}], "source": [{"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}], "conceptual": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "So I don't think I belong in the conceptual art section."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "24", "sentence": "His work is described as conceptual music."}, {"id": "24", "sentence": "His way of composing has a multimedia conceptual approach, which is mostly linked with processes in society."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "generation": [{"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be referred to as 'post-ironic'."}], "aims": [{"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}], "G": [{"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}], "communicate": [{"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "20", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}], "twenty": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "02", "sentence": "‘Fred Flintstone meets the twenty-first century’, it was referred to as."}, {"id": "06", "sentence": "So the C note runs for tens minutes and the B note is something like five minutes and twenty seconds."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "Bennet": [{"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}], "Bang": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "disseminating": [{"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}], "find": [{"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "13", "sentence": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}, {"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}, {"id": "27", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}], "Biennale": [{"id": "13", "sentence": "He designed the publication and identity of the 'Aalto Natives' at the Finnish Pavilion of the 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "implementation": [{"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}], "civil": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}], "label": [{"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "10", "sentence": "The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}], "Angel": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "illegally": [{"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "large": [{"id": "04", "sentence": "His websites attract a large audience of over forty million unique visits per year."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}], "spiders": [{"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}], "holders": [{"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}], "born": [{"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "20", "sentence": "New generations are born."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}], "IR2016": [{"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}], "roofs": [{"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "which": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "02", "sentence": "The result is a combination of several media, which all coexist in a designed concrete object."}, {"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}, {"id": "04", "sentence": "For this event he will work with a film projection and a synthesizer, which he influences with his brainwaves."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "04", "sentence": "They are cheap dummy books, onto which he poured ink in several colors."}, {"id": "04", "sentence": "These books were the starting point for curating the event, which subsequently sat within our 'Pushing Scores' project."}, {"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}, {"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}, {"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "05", "sentence": "The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}, {"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "06", "sentence": "Together, all twelve records form the complete set, which one 'game' requires."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "Line segments which he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, which determines the rhythm."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "Software being processed creates its own temporal and spatial dimensions, which are staged for a public."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "12", "sentence": "It was particularly of interested to us because of the way in which he focuses on the reproduction of music."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "20", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "24", "sentence": "The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}, {"id": "24", "sentence": "His way of composing has a multimedia conceptual approach, which is mostly linked with processes in society."}, {"id": "24", "sentence": "Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "26", "sentence": "She presented her project entitled 'Arachnes Sonifier', in which she captures and makes audible spider webs."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "It's not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}, {"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}, {"id": "32", "sentence": "Pushing Scores website launch and performance evening At the end of 2018, De Player approached Varia to develop a web-publication for their Pushing Scores project archive, which resulted in the current website."}, {"id": "32", "sentence": "The material is embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "32", "sentence": "Niek built an interactive installation, which can be summarized as a portable music staff where the actual scores/notes were hung on like a washing line."}, {"id": "32", "sentence": "The individual lines of the staffs were movable by means of 5 handles which were amplified through contact mics."}, {"id": "32", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "sounding": [{"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "sale": [{"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}], "try": [{"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "remixes": [{"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}], "exceeded": [{"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}], "hah": [{"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "Kris Delacourt: You do it in short sessions, hah."}], "strictly": [{"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}], "rainbow": [{"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "waves": [{"id": "06", "sentence": "I could have gone for something more 'correct' in terms of concept – I don't know, pure sine waves or something."}], "distribution": [{"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}], "Things": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "regularly": [{"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}], "turns": [{"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "25", "sentence": "Because she uses and records the archive, the end result almost turns out to be a DJ set."}], "fought": [{"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}], "My": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "by Band Aid 'Do Without My Love' by Nathan [UK] 'Do You Know?"}], "magnets": [{"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, which determines the rhythm."}], "Derek": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}, {"id": "16", "sentence": "Derek Holzer was invited for the event 'PUSHING' on 20 Jan 2017."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "filtering": [{"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}], "Steina": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "differently": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}], "visual": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "RAFAËL ROZENDAAL (NL) Rafaël Rozendaal is a visual artist who uses the Internet as his canvas."}, {"id": "04", "sentence": "They are intensified visual and audio perceptions in a specific space."}, {"id": "04", "sentence": "JUSTIN BENNETT (UK) Justin Bennett is an artist working with sound and visual media."}, {"id": "07", "sentence": "TELCOSYSTEMS (NL) Telcosystems presents 'Resonanz', an electronic book combining a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "With 'Resonanz', Telcosystems presents an electronic book that combines a series of visual artworks and a sound publication."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "16", "sentence": "They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "19", "sentence": "For example, his work 'frakativ' is an electronic visual sound poetry performance."}, {"id": "19", "sentence": "The performance 'frikativ' is real-time generated visual and sound poetry."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}, {"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}, {"id": "32", "sentence": "Christine Cornwell is a composer and violinist working between NL/UK with projects involving improvisation and collaborative work often combined with visual artists, dancers, opera companies or experimental TV."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "magnetite": [{"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}], "organised": [{"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}], "Morton": [{"id": "16", "sentence": "In the early 1960s, the composer Morton Subotnik employed engineer Don Buchla to help him create 'the music of the future'."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}], "initiate": [{"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}], "met": [{"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "28", "sentence": "When we met we had discussions about several professional subjects and decided to realise a publication."}], "sensitivities": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}], "York": [{"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}], "concepts": [{"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "32", "sentence": "The material is embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "laid": [{"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}], "CAPITALISM": [{"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}], "24": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}], "Jessica": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Riphagen": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "Zwart": [{"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}], "OBJECT": [{"id": "02", "sentence": "CONCRETE OBJECT WITH FLOPPY DRIVE, LOCAL WIFI STATION AND DIVERSE ELECTRONIC APPLICATIONS – EDITION OF 12 PIECES."}], "Durante": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "touch": [{"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "31", "sentence": "We got in touch with Marco Fusinato through our '8-INCH' series."}], "methodology": [{"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}], "Russia": [{"id": "27", "sentence": "Both in active mines and in the abandoned mines and buildings surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}], "fit": [{"id": "10", "sentence": "It was a good concert and her way of working fit into our ideas of exploring graphic scores very well."}, {"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}], "founders": [{"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}], "taking": [{"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}], "Vehicle": [{"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}], "navigations": [{"id": "32", "sentence": "It invited anyone to follow simple instructions to create a spatial representation of different people's individual navigations through the archive."}], "background": [{"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}, {"id": "29", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}, {"id": "32", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}], "radiation": [{"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}], "Anything": [{"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}], "XXXIII": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "America": [{"id": "07", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "14", "sentence": "Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "acts": [{"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}], "Silicon": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Donaghy": [{"id": "24", "sentence": "Team 'Don't' by Elvis Presley With The Jordanaires 'Don't Dance' by Midas 'Don't Give It Up' by Siobhan Donaghy"}], "Beuys": [{"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}], "part": [{"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "07", "sentence": "She is part of the sound art collective Sculptress of Sound."}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}, {"id": "08", "sentence": "The initiatives gather within a part of the programme called 'Intersections'."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson has been part of DE PLAYER's programme with his quartet Fersteinn several times."}, {"id": "22", "sentence": "and took part in founding its festival Sláturtíð."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "27", "sentence": "This was part of a test production of around 30,000 tons."}, {"id": "27", "sentence": "In practice it's quite mathematical, but it still it is part of the sound world too."}, {"id": "27", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "John Duncan took part in our event on 5 Oct 2018."}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}], "toys": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "companion": [{"id": "26", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}], "Sonido": [{"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}], "Witte": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "reach": [{"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}], "regeneration": [{"id": "27", "sentence": "That's why I wanted to have a thread about the regeneration of mining areas."}], "less": [{"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}, {"id": "27", "sentence": "The composition follows a more or less linear path, starting with 'deep' time."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "The composition follows a more or less linear path – starting with deep time."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "Arachne": [{"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "26", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "26", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}], "metre": [{"id": "21", "sentence": "Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}], "commodities": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "valorises": [{"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "until": [{"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "separate": [{"id": "06", "sentence": "The final installation will have twelve separate pieces: A complete octave."}], "layer": [{"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "27", "sentence": "If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste."}, {"id": "27", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "27", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}], "subtitled": [{"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}], "accompanied": [{"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}], "trajectories": [{"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "extremis": [{"id": "24", "sentence": "This piece is to be seen as a plunder phonic composition in extremis."}], "living": [{"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "32", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}], "Thu": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}], "remix": [{"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "rising": [{"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}], "Crazy": [{"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "Cologne": [{"id": "07", "sentence": "— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne."}], "Ain": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "opinion": [{"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}], "narrow": [{"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "19", "sentence": "Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}], "Fontys": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Lostprophets": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Barbican": [{"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "still": [{"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "06", "sentence": "Kris Delacourt: Oh, I think it's definitely something that's still evolving."}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "But it's still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "11", "sentence": "In the eleventh century, Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "17", "sentence": "The 'Event Scores' of George Brecht are still actual pieces."}, {"id": "20", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "27", "sentence": "She still stores coal there in a small outhouse (called 'kullbingen')."}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}, {"id": "27", "sentence": "In practice it's quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists."}, {"id": "28", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}, {"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}], "freely": [{"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}, {"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}], "common": [{"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}], "concrète": [{"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "The musique concrète, as developed by Henry at GRM, was made by magnetic tape."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}], "least": [{"id": "06", "sentence": "At least, that's where the initial form and the name came from."}, {"id": "06", "sentence": "Kris Delacourt: Not really, at least not in this case."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}], "graphics": [{"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "22", "sentence": "This often requires presenting the music as moving graphics on computer screens."}], "headed": [{"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}], "as": [{"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "‘Fred Flintstone meets the twenty-first century’, it was referred to as."}, {"id": "04", "sentence": "Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "RAFAËL ROZENDAAL (NL) Rafaël Rozendaal is a visual artist who uses the Internet as his canvas."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "05", "sentence": "This print run is to be seen as a performative action."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be referred to as 'post-ironic'."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "It was presented at Stadslimiet, Antwerp, as an installation piece on 2 Jul 2015."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "Interestingly, he thought his resulting collages would be nice to use as scores – and they probably would have been."}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}, {"id": "06", "sentence": "Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "It just rang as very poetic to me."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "It's an iron board and it has the same visuals as the sticker sheets."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There's something appealing in using a single octave as a building block."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "Kris Delacourt: The 10\" records have all been sold as well, so they sit somewhere in the middle."}, {"id": "06", "sentence": "They were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "It really was a one-time event, with the vinyls functioning as a tool, yes."}, {"id": "06", "sentence": "DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "Kris Delacourt: I do look at it as a solo thing."}, {"id": "06", "sentence": "But Vaast, for instance, refuses to regard it as his doing."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process as navigating its actualisation."}, {"id": "06", "sentence": "DE PLAYER: The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: As your first 'real' album, as a statement?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "I don't think of it as a manifesto or anything."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "06", "sentence": "DE PLAYER: Do you see this as a drone record?"}, {"id": "06", "sentence": "Or as a collage record?"}, {"id": "06", "sentence": "Or perhaps you would perceive it as a failure if it weren't enjoyable without the concept?"}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "07", "sentence": "Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "In the case of the 'prepared record', the record or musical piece is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "The usual code of the record, as defined by the music industry, was broken in all works."}, {"id": "08", "sentence": "We decided to envision the framework for the installation as a three-dimensional staff to write down music."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it's use as a technology within her work."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "However, it was decided to start from the floppy disc as a medium."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the working process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}, {"id": "10", "sentence": "By writing choreographies for software and computer elements, she utilises these technologies as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers the time and space of computer processing and memory as levels of reality."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "He sees it as punk, experimental, noise, investigative and critical, searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}, {"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "20", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}, {"id": "20", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "21", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "24", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "24", "sentence": "His work is described as conceptual music."}, {"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}, {"id": "24", "sentence": "This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}, {"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}, {"id": "26", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "26", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}, {"id": "27", "sentence": "ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking."}, {"id": "27", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "The musique concrète, as developed by Henry at GRM, was made by magnetic tape."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}, {"id": "27", "sentence": "I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}, {"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}, {"id": "29", "sentence": "Varia has developed a context and technical environment as a web-based archival publication."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}, {"id": "30", "sentence": "People who make black MIDIs are known as 'blackers'."}, {"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}, {"id": "31", "sentence": "From this perspective, his live performances can also be considered as black mass implosions."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}, {"id": "32", "sentence": "To engage with this potential, De Player and Varia asked several artists to work with the tool and use the result as a starting point for a performance."}, {"id": "32", "sentence": "He used a guzheng as a basis and then contact microphones to manipulate the sounds with software."}, {"id": "32", "sentence": "For this special event he used be using the guzheng and electronics as instruments of choice."}, {"id": "32", "sentence": "Niek built an interactive installation, which can be summarized as a portable music staff where the actual scores/notes were hung on like a washing line."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "resonance": [{"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}], "points": [{"id": "01", "sentence": "Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}], "stories": [{"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}], "affirming": [{"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "columbite": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Producer": [{"id": "30", "sentence": "They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "animals": [{"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}], "Iceland": [{"id": "22", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}], "Ylva": [{"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}], "released": [{"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}], "hang": [{"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}], "recontextualize": [{"id": "29", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "32", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}], "storage": [{"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}], "forsooth": [{"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}], "statement": [{"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "Does it feel like that for you too: As your first 'real' album, as a statement?"}, {"id": "06", "sentence": "And a statement..."}], "Pa-Ra-Di-So": [{"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}], "Delivery": [{"id": "24", "sentence": "Shena 'Dark Road' by Annie Lennox 'Delivery' by Babyshambles 'Desecration Smile' by Red Hot Chili Peppers 'Destination Calabria' by Alex Gaudino feat."}], "15mm": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "subjective": [{"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "25", "sentence": "Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation."}, {"id": "32", "sentence": "Navigating within the data structure of the archive becomes an act of score notation, and is thus based on subjective association and drifting."}], "powerful": [{"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}], "tunnel": [{"id": "27", "sentence": "We have a tunnel that leads there."}], "Larrikin": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "plunder": [{"id": "24", "sentence": "This piece is to be seen as a plunder phonic composition in extremis."}], "popular": [{"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}], "violinist": [{"id": "32", "sentence": "Christine Cornwell is a composer and violinist working between NL/UK with projects involving improvisation and collaborative work often combined with visual artists, dancers, opera companies or experimental TV."}], "valid": [{"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}], "Black": [{"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications."}, {"id": "30", "sentence": "Black MIDI was first employed by Shirasagi Yukki at Kuro Yuki Gohan's rendition of 'U.N."}, {"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}, {"id": "31", "sentence": "One of Marco's most-known projects is called 'Black Mass Implosion'."}, {"id": "31", "sentence": "Fusinato's 'Mass Black Implosion' series began in 2007."}], "minutes": [{"id": "06", "sentence": "So the C note runs for tens minutes and the B note is something like five minutes and twenty seconds."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "27", "sentence": "So much time is compressed in this material and it's burned up in minutes."}], "staffs": [{"id": "32", "sentence": "The individual lines of the staffs were movable by means of 5 handles which were amplified through contact mics."}], "World": [{"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}], "understand": [{"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}], "comes": [{"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "06", "sentence": "Principium' comes from the title of a project by Vaast Colson."}, {"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "18", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called 'cheironmy'."}, {"id": "20", "sentence": "Inspiration comes in the form of vocal poetry, 'poésie sonore' and text-sound composition."}, {"id": "24", "sentence": "Johannes Kreidler is a special case when it comes to composing."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}], "Emptiness": [{"id": "23", "sentence": "Emptiness has that same relation with notation."}], "interconnections": [{"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}], "suggested": [{"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}], "shaped": [{"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}], "are": [{"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "Later on, this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "04", "sentence": "They are intensified visual and audio perceptions in a specific space."}, {"id": "04", "sentence": "They are cheap dummy books, onto which he poured ink in several colors."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The commercial potential and its associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (of one or more people)."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "Software being processed creates its own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "12", "sentence": "Because of this ambiguity, we are interested in what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "17", "sentence": "The 'Event Scores' of George Brecht are still actual pieces."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "19", "sentence": "Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "In a multicultural situation, abstract sounds are forms of recognition; then there is, for example, music."}, {"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}, {"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "20", "sentence": "New generations are born."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "20", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}, {"id": "21", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "25", "sentence": "Her archival approach and its political and personal implications are the starting point of this work."}, {"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}, {"id": "26", "sentence": "When the webs are harvested, my hand affects their original form."}, {"id": "26", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "27", "sentence": "The sounds are environmental."}, {"id": "27", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "27", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "These questions are really haunting me ."}, {"id": "27", "sentence": "Through soundwaves geologists are able to map what is underground."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}, {"id": "30", "sentence": "People who make black MIDIs are known as 'blackers'."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "30", "sentence": "The end titles of many black MIDI videos display how many notes are in the piece."}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}, {"id": "30", "sentence": "Despite this increased computer storage, there are still black MIDI files that could cause an operating system to slow down."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}, {"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "30", "sentence": "The Guide to Black MIDI', however, denies this influence, stating that, 'We believe that references to Conlon Nancarrow and piano rolls are too deep and black MIDI origins must be found in digital MIDI music world."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "32", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "32", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "artist-run": [{"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}], "cuts": [{"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}], "following": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}], "Fabriek": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "sequencers": [{"id": "30", "sentence": "They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}], "1926": [{"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}], "Dykeenies": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "noises": [{"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}], "seek": [{"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "32", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}], "sounds": [{"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "07", "sentence": "Julia's solo live performances primarily refer to the modified vinyl records that produce extraordinary sounds."}, {"id": "20", "sentence": "In a multicultural situation, abstract sounds are forms of recognition; then there is, for example, music."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "What is the relationship between the sounds of mining and the community that surrounds them?"}, {"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "The sounds are environmental."}, {"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "27", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "27", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "27", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "32", "sentence": "He used a guzheng as a basis and then contact microphones to manipulate the sounds with software."}], "musically": [{"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}], "crazy": [{"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}], "Arezo": [{"id": "11", "sentence": "In the eleventh century, Guido van Arezo introduced the staff with four lines (this is still in use)."}], "selected": [{"id": "01", "sentence": "For every performance a different instrument has been selected."}], "stylus": [{"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}], "certainly": [{"id": "06", "sentence": "Kris Delacourt: I certainly do hope that it's enjoyable."}], "started": [{"id": "06", "sentence": "Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}], "Me": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}, {"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}, {"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}], "pairs": [{"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}], "ungraspable": [{"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}], "moments": [{"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "20", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}], "classical": [{"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}], "Manic": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}], "man": [{"id": "23", "sentence": "Before God needed to be invented there were man."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}], "heating": [{"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "everything": [{"id": "09", "sentence": "Transmitted through a beamer and an audio system, everything becomes visible and audible."}, {"id": "27", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}], "if": [{"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it's own."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or perhaps you would perceive it as a failure if it weren't enjoyable without the concept?"}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "You can only survive there if you work with nature."}], "punched": [{"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "Beautiful": [{"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "IT": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Mills": [{"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}], "joyful": [{"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}], "Þórðarsson": [{"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "flux": [{"id": "06", "sentence": "It's meant to be in a continued state of flux."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "such": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}, {"id": "20", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}, {"id": "30", "sentence": "They were created with MIDI sequencers such as Music Studio Producer and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}, {"id": "32", "sentence": "From her first experiments, such as 2011’s interdisciplinary collaboration with visual artist Eddie Peake/LuckyPDF TV at London’s Barbican to 2019's experimental event 'Invitation (x)', collective creation practises are a vital meeting point which can be traced through all of her creative work between performance, production and management."}], "Software": [{"id": "10", "sentence": "Software being processed creates its own temporal and spatial dimensions, which are staged for a public."}], "fjord": [{"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}], "submit": [{"id": "04", "sentence": "It’s not a matter of an event between spectators and a musician– it’s a space to submit to a process."}], "ordering": [{"id": "13", "sentence": "He sees it as punk, experimental, noise, investigative and critical, searching for dissonance and ordering of information, for rhythm and tonality."}], "Mobil": [{"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}], "Rare-earth": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "2011": [{"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}], "deterministic": [{"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}], "it": [{"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Some dare to say that it’s a kind of jukebox."}, {"id": "02", "sentence": "‘Fred Flintstone meets the twenty-first century’, it was referred to as."}, {"id": "04", "sentence": "It’s not a matter of an event between spectators and a musician– it’s a space to submit to a process."}, {"id": "04", "sentence": "Within it, he develops the reciprocity of music and architecture, and of sound and image."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "06", "sentence": "He was intrigued by the invitation, but it took a long time to develop."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "Pretty nonsensical in a way, but it produced a really beautiful, and quite fragile, result."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It's an iron board and it has the same visuals as the sticker sheets."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}, {"id": "06", "sentence": "It looks like a game of Four In A Row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Yet I felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}, {"id": "06", "sentence": "Kris Delacourt: Oh, I think it's definitely something that's still evolving."}, {"id": "06", "sentence": "So I don’t think I've quite finished with it, no."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "06", "sentence": "I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Kris Delacourt: You do it in short sessions, hah."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "If something was interesting for a while, but didn't stay interesting, it had to go."}, {"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it's own."}, {"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "But it's still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "Kris Delacourt: I do look at it as a solo thing."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But Vaast, for instance, refuses to regard it as his doing."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "Art is letting things go, let it flow."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "Does it feel like that for you too: As your first 'real' album, as a statement?"}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "06", "sentence": "I don't think of it as a manifesto or anything."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or perhaps you would perceive it as a failure if it weren't enjoyable without the concept?"}, {"id": "06", "sentence": "Kris Delacourt: I certainly do hope that it's enjoyable."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "Until I tried it."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "07", "sentence": "We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it's use as a technology within her work."}, {"id": "09", "sentence": "However, it was decided to start from the floppy disc as a medium."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "12", "sentence": "He calls this chapter 'Represent' because it is the project of the executive."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "At the time of writing it would have been quite prophetic."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "13", "sentence": "He sees it as punk, experimental, noise, investigative and critical, searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "20", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "24", "sentence": "Johannes Kreidler is a special case when it comes to composing."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "24", "sentence": "This makes it particularly interesting when viewed from the perspective of experimentation and unorthodox composing."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "How much influence does it have on a community?"}, {"id": "27", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope."}, {"id": "27", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "27", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "27", "sentence": "It doesn't relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "27", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "It's absurd when you start to think about it."}, {"id": "27", "sentence": "So much time is compressed in this material and it's burned up in minutes."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "27", "sentence": "In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it ."}, {"id": "27", "sentence": "It created a vacuum after it closed."}, {"id": "27", "sentence": "The landscape is fairly untouched, it is scarcely populated, it's desolate."}, {"id": "27", "sentence": "If you work against it, it will kill you."}, {"id": "27", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them ."}, {"id": "27", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "27", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "27", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "27", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "27", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "27", "sentence": "In practice it's quite mathematical, but it still it is part of the sound world too."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}, {"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}, {"id": "32", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}], "overall": [{"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "speech": [{"id": "20", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "20", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "20", "sentence": "computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded."}], "long-duration": [{"id": "31", "sentence": "Spectral Arrows' is an ongoing series of long-duration performances for guitar and electronics."}], "connected": [{"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}], "initial": [{"id": "06", "sentence": "At least, that's where the initial form and the name came from."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}], "Jaðarber": [{"id": "22", "sentence": "He also used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}], "polyurethane": [{"id": "22", "sentence": "We also produced a limited polyurethane record with Fersteinn."}], "curator": [{"id": "13", "sentence": "From his own position, he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "27", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}], "tradition": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}], "also": [{"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "He is also an art book publisher (Onomatopee, Eindhoven, and WdW Review, Rotterdam)."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}, {"id": "06", "sentence": "That's awesome, and I'm flattered to be a part of that, but in a way it's also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "07", "sentence": "Julia Bünnagel was also invited, under the guise of contributing a more physical input."}, {"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}, {"id": "13", "sentence": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "19", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "19", "sentence": "Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "20", "sentence": "Signification also plays a major role in this."}, {"id": "20", "sentence": "a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g."}, {"id": "22", "sentence": "The animations of Gunnarsson were also used by Goodiepal when he visited DE PLAYER on 17 Dec 2015 with his project on Icelandic animated notation."}, {"id": "22", "sentence": "We also produced a limited polyurethane record with Fersteinn."}, {"id": "22", "sentence": "He also used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "23", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "24", "sentence": "Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'."}, {"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}, {"id": "27", "sentence": "He also expanded his archive with all related logistic processes."}, {"id": "27", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "27", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "27", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "27", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "27", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "28", "sentence": "Duncan also often works with Carl Michael Hausswolff, who is an expert in EVP."}, {"id": "28", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "30", "sentence": "This not only counts for publishing but also for exploring new possibilities for artist practice in general."}, {"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "31", "sentence": "From this perspective, his live performances can also be considered as black mass implosions."}], "methods": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}], "research": [{"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016, 2017 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "09", "sentence": "As another example, Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology and national security."}, {"id": "25", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}], "TGC": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "TGC#3 is a particular kind of publishing platform engineered for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpart to his own musical input."}], "zone": [{"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}], "credits": [{"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}], "away": [{"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}], "CRUSH": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "McCartney": [{"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}], "discursive": [{"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings and workshops."}], "missed": [{"id": "21", "sentence": "They did quite an impressive set a number of years ago at both De Vleeshal and Wall Gallery, for those who missed it."}], "researches": [{"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}], "engaged": [{"id": "13", "sentence": "He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities."}], "geophones": [{"id": "27", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}], "Para-phonic": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}], "Anne-Mie": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "electro": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}], "alchemic": [{"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}], "language-based": [{"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}], "harshness": [{"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}], "Ideal": [{"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}], "Along": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "style": [{"id": "20", "sentence": "The style and/or genre determine the identity."}, {"id": "21", "sentence": "Gunnarsson's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}], "Bischoff": [{"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "irrelevance": [{"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}], "doesn": [{"id": "06", "sentence": "Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final."}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "27", "sentence": "It doesn't relate directly to mining, but it extends the project to include geology, deep time and stone."}], "industry": [{"id": "07", "sentence": "The usual code of the record, as defined by the music industry, was broken in all works."}, {"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}], "com": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "namely": [{"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}], "Na2O": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "plant": [{"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "27", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}], "one-time": [{"id": "06", "sentence": "It really was a one-time event, with the vinyls functioning as a tool, yes."}], "Affect": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "true": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "turn": [{"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "17", "sentence": "Participants performed about fifty instructions such as 'turn on lights', 'start engine', 'stop engine' and 'open window'."}], "stores": [{"id": "27", "sentence": "She still stores coal there in a small outhouse (called 'kullbingen')."}], "cracked": [{"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}], "Colson": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "05", "sentence": "We have known Vaast Colson to be an interesting artist for quite some time already."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be referred to as 'post-ironic'."}, {"id": "05", "sentence": "Colson's works examine core questions: What power does art have to change us and our society?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "The commercial potential and its associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium', which was a joyful (but strictly ruled) play with sticky coloured dots."}, {"id": "06", "sentence": "For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'."}, {"id": "06", "sentence": "Principium' comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "Colson made two booklets in the 'Principium' series – comprised of reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "Principium 2.0' is then another piece in step with the principle of Colson's original 'Principium'."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "There's Vaast Colson, Peter Flenger and Dennis Tyfus too."}], "properties": [{"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}], "Coming": [{"id": "06", "sentence": "Coming up with a concept can be as much a creative process as navigating its actualisation."}, {"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}], "Mn": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Raspberry": [{"id": "02", "sentence": "It has a Raspberry Pi sits at its core, and is programmed for several applications."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}], "Curran": [{"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "designing": [{"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job designing the packaging."}], "films": [{"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}], "Fine": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "1985": [{"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}], "networks": [{"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}], "ranged": [{"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}], "monastery": [{"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}], "Computer": [{"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}], "select": [{"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}], "lepidolite": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "effort": [{"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}], "hated": [{"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}], "factor": [{"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}], "specific": [{"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "04", "sentence": "They are intensified visual and audio perceptions in a specific space."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages throughout its history: 1."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "19", "sentence": "For this he developed specific software that generates poetry in spoken-word form."}, {"id": "21", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "Instead of using traditional musical scores during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}], "Tumbai": [{"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}], "musicology": [{"id": "29", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}, {"id": "32", "sentence": "Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology."}], "And": [{"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "And I don't know, maybe part of me wanted to be a part of that history, more than just doing a 'recording'."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "And I don't mind a good concept now and then, but I guess I'm too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job designing the packaging."}, {"id": "06", "sentence": "And since I'm a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "And I follow that."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "And a statement..."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}, {"id": "27", "sentence": "And then there are sounds used for seismic interferometry: The decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}], "simultaneous": [{"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}], "machine": [{"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "05", "sentence": "The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded."}, {"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "05", "sentence": "The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "29", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}], "Than": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "missiles": [{"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "www": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "Á": [{"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}], "UK": [{"id": "04", "sentence": "JUSTIN BENNETT (UK) Justin Bennett is an artist working with sound and visual media."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "by Band Aid 'Do Without My Love' by Nathan [UK] 'Do You Know?"}, {"id": "32", "sentence": "Christine Cornwell is a composer and violinist working between NL/UK with projects involving improvisation and collaborative work often combined with visual artists, dancers, opera companies or experimental TV."}], "central": [{"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "we": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp-based artists to contribute to the project."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "01", "sentence": "Later on, this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to Morse code."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "07", "sentence": "To complete the event we searched for two completely different approaches to composition."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "08", "sentence": "Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "12", "sentence": "Because of this ambiguity, we are interested in what this stage of music could represent."}, {"id": "19", "sentence": "For 'Pushing Scores', we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "23", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}, {"id": "24", "sentence": "Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}, {"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}, {"id": "27", "sentence": "It just turned out that way, perhaps because that's how we generally tend to structure material."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "27", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "27", "sentence": "What shifts will we see?"}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "When we met we had discussions about several professional subjects and decided to realise a publication."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "29", "sentence": "It is based in Rotterdam in the same area that we operate in."}, {"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "For this we published 8\" records with artists and labels."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}, {"id": "32", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}], "Italy": [{"id": "28", "sentence": "He is currently a sound designer at the Art Academy of Bologna, Italy."}], "silk": [{"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}], "cannot": [{"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "27", "sentence": "In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it ."}], "uses": [{"id": "04", "sentence": "RAFAËL ROZENDAAL (NL) Rafaël Rozendaal is a visual artist who uses the Internet as his canvas."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "20", "sentence": "Improper uses of consumer electronics (e.g."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "24", "sentence": "He usually uses multimedia elements."}, {"id": "24", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "Because she uses and records the archive, the end result almost turns out to be a DJ set."}, {"id": "27", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "discarded": [{"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}], "Finland": [{"id": "27", "sentence": "Both in active mines and in the abandoned mines and buildings surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}], "barely": [{"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}], "case": [{"id": "06", "sentence": "Kris Delacourt: Not really, at least not in this case."}, {"id": "07", "sentence": "In the case of the 'prepared record', the record or musical piece is not used as a reproductive technique."}, {"id": "24", "sentence": "Johannes Kreidler is a special case when it comes to composing."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "fourth": [{"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}], "difficult": [{"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "06", "sentence": "That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance."}], "Rutt-Etra": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}], "Bad": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}], "captures": [{"id": "26", "sentence": "She presented her project entitled 'Arachnes Sonifier', in which she captures and makes audible spider webs."}], "food": [{"id": "31", "sentence": "Good food and drinks were served."}], "Florian": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "pubs": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "exhausted": [{"id": "27", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}], "here": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "20", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "van": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For this multi-vocal composition, Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "In the eleventh century, Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "13", "sentence": "The entire 'Pushing Scores' project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer based in Amsterdam."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "13", "sentence": "Remco van Bladel grew up in the record store of his father."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}], "conceptualisation": [{"id": "13", "sentence": "This encompasses the conceptualisation, the funding and the execution."}], "some": [{"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "05", "sentence": "We have known Vaast Colson to be an interesting artist for quite some time already."}, {"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?"}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "Kris Delacourt: There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}, {"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}, {"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}, {"id": "27", "sentence": "For this event, Kahn did some kind of improvisation session on the works of the three invited artists."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}], "logistic": [{"id": "27", "sentence": "He also expanded his archive with all related logistic processes."}], "numerous": [{"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}], "Cultural": [{"id": "20", "sentence": "Cultural identity is therefore communicated through this."}], "Carey": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "harbour": [{"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "represents": [{"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}], "productive": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}], "nouveauté": [{"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}], "markers": [{"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}], "bequeathed": [{"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}], "Breathless": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "sometimes": [{"id": "06", "sentence": "Sometimes I preferred elements because of harmonic information, notes that work well together, sometimes because of rhythms that worked well, etc."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}], "choir": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "11", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "18", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}], "Connecting": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad."}], "blending": [{"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}], "mathematical": [{"id": "27", "sentence": "In practice it's quite mathematical, but it still it is part of the sound world too."}], "means": [{"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "20", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "This means animated notation."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "27", "sentence": "More waste means more costs.’ From an interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "32", "sentence": "The individual lines of the staffs were movable by means of 5 handles which were amplified through contact mics."}], "immediately": [{"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "26", "sentence": "We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented."}], "SYNTHESIS": [{"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}], "Georgia": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "HILKMANN": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}], "consequences": [{"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}], "Justice": [{"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}], "without": [{"id": "02", "sentence": "This is a magazine without any format, with the intention for a new one to be developed each time."}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or perhaps you would perceive it as a failure if it weren't enjoyable without the concept?"}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "11", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "18", "sentence": "These signs, or 'neumens', were written down, modified or not, first without any reference line."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}, {"id": "21", "sentence": "Gunnarsson's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "27", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics."}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "Vuksic": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART x JUBILEE event in 2017."}, {"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}, {"id": "10", "sentence": "VALENTINA VUKSIC (CH/NL) Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "Vuksic considers the time and space of computer processing and memory as levels of reality."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}], "Nov": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "plays": [{"id": "20", "sentence": "Signification also plays a major role in this."}, {"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "21", "sentence": "They are a group that plays music in an 'extra-musical' or 'non-musical' sort of rhythm (so to speak)."}, {"id": "21", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "This Icelandic quartet plays with little analogue instruments and animation scores Gunnarsson made on his computer."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}, {"id": "28", "sentence": "The medium of radio still plays a role in arriving at compositions."}], "Pinkie": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp-based artists to contribute to the project."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Bowtie": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp-based artists to contribute to the project."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "setting": [{"id": "06", "sentence": "The interview was conducted after he exhibited 'Principium 2.0' in an installation setting at Stadslimiet, Antwerp."}], "ownership": [{"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}], "runtime": [{"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}], "generators": [{"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}], "homage": [{"id": "27", "sentence": "There is a little homage to GRM and Pierre Schaeffer on the record."}], "manageable": [{"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}], "refocus": [{"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}], "decide": [{"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}], "norm": [{"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}], "Amersfoort": [{"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer based in Amsterdam."}], "movements": [{"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "11", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "18", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}], "Oct": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "28", "sentence": "John Duncan took part in our event on 5 Oct 2018."}], "Creation": [{"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}], "already": [{"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "05", "sentence": "We have known Vaast Colson to be an interesting artist for quite some time already."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}], "pages": [{"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}], "Asteroids": [{"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}], "Vasuka": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}], "photographic": [{"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "Cherry": [{"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}], "Project": [{"id": "24", "sentence": "The Miami Project 'Anthem' by Filo & Peri feat."}, {"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}], "father": [{"id": "13", "sentence": "Remco van Bladel grew up in the record store of his father."}], "replaces": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}], "documentation": [{"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}], "delicate": [{"id": "22", "sentence": "It results in very delicate and unconventional chamber music."}], "sculptural": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}], "unlikely": [{"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}], "Saedier": [{"id": "01", "sentence": "The work is voiced by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "The piece is voiced by Laetitia Saedier of Stereolab."}], "home": [{"id": "25", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago."}, {"id": "28", "sentence": "He also made periodic broadcasts from his own home."}], "GRM": [{"id": "27", "sentence": "There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore."}, {"id": "27", "sentence": "The musique concrète, as developed by Henry at GRM, was made by magnetic tape."}, {"id": "27", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "27", "sentence": "There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "27", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}], "Korea": [{"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}], "Mass": [{"id": "31", "sentence": "One of Marco's most-known projects is called 'Black Mass Implosion'."}, {"id": "31", "sentence": "Fusinato's 'Mass Black Implosion' series began in 2007."}], "think": [{"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Kris Delacourt: Oh, I think it's definitely something that's still evolving."}, {"id": "06", "sentence": "So I don’t think I've quite finished with it, no."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it's own."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "So I don't think I belong in the conceptual art section."}, {"id": "06", "sentence": "Kris Delacourt: I think I would consider that series of twelve 10\" my vinyl debut, but maybe because it was twelve different records or in 10\" format it doesn't really count?"}, {"id": "06", "sentence": "I don't think of it as a manifesto or anything."}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}, {"id": "13", "sentence": "This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements."}, {"id": "23", "sentence": "I think silence has that same relation with music."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "27", "sentence": "It's absurd when you start to think about it."}], "Thingamajigs": [{"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "audience": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "04", "sentence": "His websites attract a large audience of over forty million unique visits per year."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (of one or more people)."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "29", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}], "characters": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "frequent": [{"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}], "Gingeas": [{"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}], "painting": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}], "On": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "07", "sentence": "On this evening, 'Resonanz' will be the starting point for a Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "On the live oscilloscope concert Holzer states, 'The Vectorian Era opens with a screaming across the sky."}, {"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "29", "sentence": "On the spot, the audience could activate the UNI."}], "inquiry": [{"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}], "the": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "01", "sentence": "The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp-based artists to contribute to the project."}, {"id": "01", "sentence": "So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there."}, {"id": "01", "sentence": "The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30 @ Paradiso, Amsterdam 'PARA-PHONIC POLY-DISO' BY REMCO VAN BLADEL On this day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Metrostation Maashaven."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The 'E-ARTHHA' event is about the search for new interfaces and possibilities for sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Throughout 2016, 2017 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on, this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media to this day."}, {"id": "01", "sentence": "So what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "01", "sentence": "Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century."}, {"id": "01", "sentence": "Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations, such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB."}, {"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "02", "sentence": "DE PLAYER was asked by the XPUB programme of Piet Zwart Institute to do a seminar during a three-month period with their students."}, {"id": "02", "sentence": "We proposed to the students that they devise an issue of our publication Tetra Gamma Circulaire."}, {"id": "02", "sentence": "This is a magazine without any format, with the intention for a new one to be developed each time."}, {"id": "02", "sentence": "We worked around the ideas present in our 'Pushing Scores' project."}, {"id": "02", "sentence": "Each student had to develop their own project around the process of making a score."}, {"id": "02", "sentence": "This was put in place to both limit possibilities and to unite the format."}, {"id": "02", "sentence": "‘Fred Flintstone meets the twenty-first century’, it was referred to as."}, {"id": "02", "sentence": "Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light."}, {"id": "03", "sentence": "PRESENTATION OF PRINCIPIUM 2.0 (DOB073) @ STADSLIMIET, ANTWERP 2 Jul 2017 @ Stadslimiet, Antwerp with Remörk (Kris Delacourt) The installation setup contains six of the twelve releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "During the performance, which lasted for several hours, visitors could freely join, listen and pose questions to the artist, Remörk (a.k.a."}, {"id": "04", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "Every aspect of his work deals with the quality of sound."}, {"id": "04", "sentence": "RAFAËL ROZENDAAL (NL) Rafaël Rozendaal is a visual artist who uses the Internet as his canvas."}, {"id": "04", "sentence": "At every level of detail, the everyday sound of our urban surroundings is the focus of his work."}, {"id": "04", "sentence": "Within it, he develops the reciprocity of music and architecture, and of sound and image."}, {"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "04", "sentence": "The ink was absorbed by the books and, after drying, it turned out to be a series of morphing colours that shifted with each page turn."}, {"id": "04", "sentence": "These books were the starting point for curating the event, which subsequently sat within our 'Pushing Scores' project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}, {"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "05", "sentence": "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'."}, {"id": "05", "sentence": "The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded."}, {"id": "05", "sentence": "Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it."}, {"id": "05", "sentence": "The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself."}, {"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "He opens up the artistic field to explore what is happening in the art world."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "06", "sentence": "The magnets for the sensor ride on top of the record player's platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "06", "sentence": "Together, all twelve records form the complete set, which one 'game' requires."}, {"id": "06", "sentence": "Join the community."}, {"id": "06", "sentence": "He was intrigued by the invitation, but it took a long time to develop."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "Principium' comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "Colson made two booklets in the 'Principium' series – comprised of reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "As mentioned, the first version was a modified Casio keyboard."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "Principium 2.0' is then another piece in step with the principle of Colson's original 'Principium'."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "This is an interview with Kris Delacourt (Remörk) on his practice and the 'Principium' story."}, {"id": "06", "sentence": "DE PLAYER: I've been following the 'Principium' story on your blog, which dates back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "As mentioned, this is the short version, can you give me the full story?"}, {"id": "06", "sentence": "At least, that's where the initial form and the name came from."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It's an iron board and it has the same visuals as the sticker sheets."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB Records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe."}, {"id": "06", "sentence": "DOB Records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for tens minutes and the B note is something like five minutes and twenty seconds."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation."}, {"id": "06", "sentence": "Peter brought six record players, matching the six colours of the vinyl nicely – two notes each."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, which determines the rhythm."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?"}, {"id": "06", "sentence": "There’s something appealing in the number twelve even, and there's the appeal of building instruments too."}, {"id": "06", "sentence": "What was the problem?"}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole eight-hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "Kris Delacourt: There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Kris Delacourt: I guess there was the point where I decided to just do a ten-minute organ improvisation, that was a bit of a turning point."}, {"id": "06", "sentence": "The improvisation might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "DE PLAYER: I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "How do you perceive the function a piece of vinyl can have?"}, {"id": "06", "sentence": "Kris Delacourt: The 10\" records have all been sold as well, so they sit somewhere in the middle."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece."}, {"id": "06", "sentence": "It really was a one-time event, with the vinyls functioning as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "It's a result of that whole chain reaction, so in that way it's definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking."}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "So I don't think I belong in the conceptual art section."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time."}, {"id": "06", "sentence": "Quite the contrary, actually."}, {"id": "06", "sentence": "The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or perhaps you would perceive it as a failure if it weren't enjoyable without the concept?"}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "I guess I am aiming for the best of both worlds there."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "On this evening, 'Resonanz' will be the starting point for a Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems' installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "For this evening event, 'Resonanz' will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior, aiming at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make in the form of films, videos, soundtracks, prints and live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, and in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted."}, {"id": "07", "sentence": "She is part of the sound art collective Sculptress of Sound."}, {"id": "07", "sentence": "Julia's solo live performances primarily refer to the modified vinyl records that produce extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes various forms of physical treatment such as sewing, painting or pasting the vinyl surfaces."}, {"id": "07", "sentence": "DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music."}, {"id": "07", "sentence": "For the 'PUSHING' event, Derek will do a reading entitled 'Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology', and after that he will do a live set based on researching analogue visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards."}, {"id": "07", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "On the live oscilloscope concert Holzer states, 'The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "07", "sentence": "They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production."}, {"id": "07", "sentence": "To complete the event we searched for two completely different approaches to composition."}, {"id": "07", "sentence": "Julia Bünnagel was also invited, under the guise of contributing a more physical input."}, {"id": "07", "sentence": "In the case of the 'prepared record', the record or musical piece is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time."}, {"id": "07", "sentence": "In his article 'New Plasticism in Music: Possibilities of the Gramophone', László Moholy-Nagy said that it lies in the peculiarity of human nature that: The abuse and misunderstanding [of the record form] are necessary to gain results."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes."}, {"id": "07", "sentence": "In 1989 the 'Broken Music' exhibition was held in Berlin at DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák and Christian Marclay."}, {"id": "07", "sentence": "All had worked with the medium of the vinyl record and added a new use/application."}, {"id": "07", "sentence": "The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The usual code of the record, as defined by the music industry, was broken in all works."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "08", "sentence": "The initiatives gather within a part of the programme called 'Intersections'."}, {"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "08", "sentence": "For this year's festival, it was clear to us that we should present the 'Pushing Scores' project."}, {"id": "08", "sentence": "We decided to envision the framework for the installation as a three-dimensional staff to write down music."}, {"id": "08", "sentence": "By doing so, we developed a multidimensional approach to the tactics that can be used for making scores and how the outcomes could finally exist as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some audio publications (by Telcosystems, Cold Void and Davide Mosconi) as well take part in the production process by spraying new works for the next potential customer."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "HELGA JAKOBSON (CA) Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "However, it was decided to start from the floppy disc as a medium."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the working process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "As another example, Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will host the evening, and explain their ideas and approach to developing the archive."}, {"id": "10", "sentence": "The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART x JUBILEE event in 2017."}, {"id": "10", "sentence": "Her score was made on the spot with programming language; a sort of live coding."}, {"id": "10", "sentence": "In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "Vuksic considers the time and space of computer processing and memory as levels of reality."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere to become concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "An interactive graphic score/light box/kinetic work fixed inside the cabinet, and 2."}, {"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "11", "sentence": "The work was installed for a period at The Small Museum – a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "11", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century, Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called 'manual notation' was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "After learning of Attali's book, 'Noise: The Political Economy of Music', we used it as inspiration for the project 'Pushing Scores'."}, {"id": "12", "sentence": "It was particularly of interested to us because of the way in which he focuses on the reproduction of music."}, {"id": "12", "sentence": "The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object."}, {"id": "12", "sentence": "It refers to the era of printed music (1500–1900)."}, {"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "He calls this chapter 'Represent' because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "At the time of writing it would have been quite prophetic."}, {"id": "12", "sentence": "What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993."}, {"id": "12", "sentence": "He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'."}, {"id": "12", "sentence": "Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image."}, {"id": "13", "sentence": "This encompasses the conceptualisation, the funding and the execution."}, {"id": "13", "sentence": "We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the 'Aalto Natives' at the Finnish Pavilion of the 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "13", "sentence": "The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website."}, {"id": "13", "sentence": "Remco van Bladel grew up in the record store of his father."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions."}, {"id": "14", "sentence": "This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "14", "sentence": "It completely complimented our thinking around how to imagine the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process."}, {"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area – the live electronic music performance."}, {"id": "14", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "Over the past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "With this renewed analogue interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'."}, {"id": "16", "sentence": "VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "During this workshop, the attendants learnt how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "Derek Holzer was invited for the event 'PUSHING' on 20 Jan 2017."}, {"id": "16", "sentence": "He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope."}, {"id": "16", "sentence": "A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game."}, {"id": "16", "sentence": "In the early 1960s, the composer Morton Subotnik employed engineer Don Buchla to help him create 'the music of the future'."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analogue vector graphics isn't merely retro-for-retro's-sake."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}, {"id": "17", "sentence": "Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact."}, {"id": "17", "sentence": "The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years."}, {"id": "18", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "18", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "18", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called 'cheironmy'."}, {"id": "18", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the 'scola cantorum' with movements."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "18", "sentence": "Later, the neumens – depending on the relative pitch differences – were noted above, on or below a line referring to a pitch determined by the choral conductor."}, {"id": "19", "sentence": "Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science."}, {"id": "19", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "19", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "19", "sentence": "Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions."}, {"id": "19", "sentence": "Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past."}, {"id": "19", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "20", "sentence": "Music and dance are complimentary to the context of being together without literally understanding each other word for word."}, {"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "20", "sentence": "The style and/or genre determine the identity."}, {"id": "20", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "20", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "20", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "20", "sentence": "Within 'Radical Listening' we want to see what the possibilities of communication and publishing are with the current means that are available to us."}, {"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}, {"id": "20", "sentence": "Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "20", "sentence": "Inspiration comes in the form of vocal poetry, 'poésie sonore' and text-sound composition."}, {"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}, {"id": "20", "sentence": "The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "21", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "21", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð."}, {"id": "21", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "21", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "21", "sentence": "This rhythmic language and animated notation, and the structural methods he uses in composition, were the subject of his Master's thesis at Mills College."}, {"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "21", "sentence": "Fersteinn works with the method of so-called 'animation'."}, {"id": "21", "sentence": "They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it."}, {"id": "22", "sentence": "Anitation' is the term for animated notation."}, {"id": "22", "sentence": "Instead of using traditional musical scores during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "This rhythmic language and animated notation, and their subsequent structural methods, were the subject of Guðmundur Steinn Gunnarsson's Master's thesis at Mills College."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "The idea of 'anitation' and the work of Guðmundur Steinn Gunnarsson fits perfectly within 'Pushing Scores'."}, {"id": "22", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "22", "sentence": "In that way, the most irregular things can become very intelligible."}, {"id": "22", "sentence": "He also used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}, {"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "23", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "23", "sentence": "Before language there was the song."}, {"id": "23", "sentence": "Before the song there was the yodel,' As Bart Plantenga stated in his reading on yodeling."}, {"id": "24", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}, {"id": "24", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "24", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and the Hamburg University of Music and Drama."}, {"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "24", "sentence": "In a thirty-three second piece, he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the German Buma Stemra (GEMA)."}, {"id": "24", "sentence": "Eventually, he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "24", "sentence": "The minimal samples used (only milliseconds of time) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "24", "sentence": "This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches."}, {"id": "24", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}, {"id": "24", "sentence": "According to Kreidler, the action, entitled 'Fremdarbeit', is intended to focus attention on the themes of exploitation and authorship."}, {"id": "24", "sentence": "This makes it particularly interesting when viewed from the perspective of experimentation and unorthodox composing."}, {"id": "24", "sentence": "The AEX index, outsourcing of labour or copyright processes and social questions and implications around these issues form the fundament of some of his compositions."}, {"id": "24", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organised around music and capitalism."}, {"id": "24", "sentence": "In September 2008 a piece of press advertised his action ‘Product Placements’, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}, {"id": "24", "sentence": "For this purpose, he was accompanied by numerous press representatives to deliver a small truck's worth of completed applications to the GEMA Directorate General in Berlin."}, {"id": "24", "sentence": "The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "Ana Guedes is a multidisciplinary artist from Portugal who lives and works in the Hague."}, {"id": "25", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}, {"id": "25", "sentence": "Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation."}, {"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "25", "sentence": "The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents."}, {"id": "25", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths, the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "25", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "25", "sentence": "The multi-arm record players, on which several timelines can be played, intertwine the juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "25", "sentence": "Her archival approach and its political and personal implications are the starting point of this work."}, {"id": "25", "sentence": "Because she uses and records the archive, the end result almost turns out to be a DJ set."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "26", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "26", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "26", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a grandmother spider figure who wove the night sky with her silk."}, {"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}, {"id": "26", "sentence": "In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "26", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "26", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "26", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "26", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "26", "sentence": "Using the material bequeathed to Arachne's doomed progeny, I've been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologising and disseminating non-verbal experience."}, {"id": "26", "sentence": "The sonification of spider webs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "26", "sentence": "When the webs are harvested, my hand affects their original form."}, {"id": "26", "sentence": "These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}, {"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}, {"id": "26", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "26", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "26", "sentence": "In actuality, they are visual representations of the spider's consciousness (who can forget Dr. Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "26", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "26", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}, {"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "27", "sentence": "What is the relationship between the sounds of mining and the community that surrounds them?"}, {"id": "27", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "27", "sentence": "Both in active mines and in the abandoned mines and buildings surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "27", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope."}, {"id": "27", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "27", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "27", "sentence": "Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future."}, {"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "27", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "27", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "27", "sentence": "In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "27", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "27", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "27", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "27", "sentence": "We thought he would fit very well in the 'E-ARTHHA' event with Douglas Kahn that we were already busy with planning."}, {"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "27", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "27", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}, {"id": "27", "sentence": "For this event, Kahn did some kind of improvisation session on the works of the three invited artists."}, {"id": "27", "sentence": "Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "27", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "27", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "27", "sentence": "You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in."}, {"id": "27", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "27", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "27", "sentence": "It doesn't relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "27", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "27", "sentence": "I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "27", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "27", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "27", "sentence": "I did the same with coal."}, {"id": "27", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "27", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "27", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "27", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "27", "sentence": "It is a vast scar in the landscape, and really an incredible place."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "I'm very interested in the hidden layers and history the landscape."}, {"id": "27", "sentence": "That's why I wanted to have a thread about the regeneration of mining areas."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}, {"id": "27", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "One is the waste you make to get to the ore."}, {"id": "27", "sentence": "If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste."}, {"id": "27", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "27", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "27", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "27", "sentence": "It's not like wind or the sun, which give you immediate energy."}, {"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!"}, {"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "27", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a second folkoristic notion – that in the interior of mountains time stands still."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "27", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "27", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "27", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "27", "sentence": "The sound of the mine was always present."}, {"id": "27", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "27", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "27", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "It's good for the human psyche to be reminded of that."}, {"id": "27", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them ."}, {"id": "27", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "27", "sentence": "What shifts happened in the past?"}, {"id": "27", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "27", "sentence": "Far down in the Earth the rock is actually moving."}, {"id": "27", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "27", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "27", "sentence": "Listening underground is like reading the environment."}, {"id": "27", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "27", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "27", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "27", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "27", "sentence": "In practice it's quite mathematical, but it still it is part of the sound world too."}, {"id": "27", "sentence": "There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "27", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "27", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "27", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "27", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "27", "sentence": "All to get to the desired result: The gold!"}, {"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "28", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}, {"id": "28", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process."}, {"id": "28", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of the DE PLAYER programme."}, {"id": "28", "sentence": "The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording."}, {"id": "28", "sentence": "This approach can also be seen in the Electronic Voice Phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "28", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "28", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "28", "sentence": "He is currently a sound designer at the Art Academy of Bologna, Italy."}, {"id": "28", "sentence": "Since the beginning of his practice, he has made extensive use of recorded sound."}, {"id": "28", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "29", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}, {"id": "29", "sentence": "It is based in Rotterdam in the same area that we operate in."}, {"id": "29", "sentence": "We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'."}, {"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}, {"id": "29", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "29", "sentence": "By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project."}, {"id": "29", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "30", "sentence": "Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "30", "sentence": "DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production."}, {"id": "30", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "30", "sentence": "Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’."}, {"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}, {"id": "30", "sentence": "The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011."}, {"id": "30", "sentence": "Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes."}, {"id": "30", "sentence": "They also formed the sites 'Guide to Black MIDI' and 'Official Black MIDI Wikia', which introduced and set the norm of black MIDI."}, {"id": "30", "sentence": "The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer."}, {"id": "30", "sentence": "The end titles of many black MIDI videos display how many notes are in the piece."}, {"id": "30", "sentence": "The number of notes and the sizes of the playback files have grown with the rising amount of processing and 64-bit programs, which computers are now able to handle."}, {"id": "30", "sentence": "While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}, {"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "30", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}, {"id": "30", "sentence": "Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}, {"id": "30", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "30", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano."}, {"id": "31", "sentence": "Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands."}, {"id": "31", "sentence": "In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "31", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}, {"id": "31", "sentence": "The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "31", "sentence": "For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist."}, {"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}, {"id": "31", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "31", "sentence": "As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'."}, {"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}, {"id": "31", "sentence": "People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows."}, {"id": "31", "sentence": "A huge public announcement system was in the office blazing loud, but very articulated sound."}, {"id": "31", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "31", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "31", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "31", "sentence": "Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "31", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "31", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}, {"id": "32", "sentence": "Pushing Scores website launch and performance evening At the end of 2018, De Player approached Varia to develop a web-publication for their Pushing Scores project archive, which resulted in the current website."}, {"id": "32", "sentence": "The project investigated the state of the arts of composing scores in a contemporary environment and spanned over 2-3 years."}, {"id": "32", "sentence": "Varia contributed by developing an archival web publication where the vernacular vocabulary of De Player creates the possibilities of text-based navigation across the collection of items."}, {"id": "32", "sentence": "The material is embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "32", "sentence": "Navigating within the data structure of the archive becomes an act of score notation, and is thus based on subjective association and drifting."}, {"id": "32", "sentence": "To engage with this potential, De Player and Varia asked several artists to work with the tool and use the result as a starting point for a performance."}, {"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}, {"id": "32", "sentence": "He used a guzheng as a basis and then contact microphones to manipulate the sounds with software."}, {"id": "32", "sentence": "For this special event he used be using the guzheng and electronics as instruments of choice."}, {"id": "32", "sentence": "Niek built an interactive installation, which can be summarized as a portable music staff where the actual scores/notes were hung on like a washing line."}, {"id": "32", "sentence": "The individual lines of the staffs were movable by means of 5 handles which were amplified through contact mics."}, {"id": "32", "sentence": "He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it."}, {"id": "32", "sentence": "During the presentation of Pushing Scores he will utilize the spatial dimensions of Varia and recontextualize the scores created by the archive."}, {"id": "32", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "32", "sentence": "Christine Cornwell one dot = one degree / one step / one word spoken This piece explores different layers of interpretation taken from the starting point of any archive-text-score."}, {"id": "32", "sentence": "It invited anyone to follow simple instructions to create a spatial representation of different people's individual navigations through the archive."}], "Nevertheless": [{"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores."}, {"id": "06", "sentence": "Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool."}], "Nico": [{"id": "30", "sentence": "It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years."}], "Size": [{"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "exploitation": [{"id": "24", "sentence": "According to Kreidler, the action, entitled 'Fremdarbeit', is intended to focus attention on the themes of exploitation and authorship."}], "starting": [{"id": "04", "sentence": "These books were the starting point for curating the event, which subsequently sat within our 'Pushing Scores' project."}, {"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I'm also interested enough in the results to loosen up the concept if I feel it's needed."}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "07", "sentence": "On this evening, 'Resonanz' will be the starting point for a Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "For this evening event, 'Resonanz' will be the starting point of Q&A, demonstration and live presentation."}, {"id": "25", "sentence": "Her archival approach and its political and personal implications are the starting point of this work."}, {"id": "27", "sentence": "The composition follows a more or less linear path, starting with 'deep' time."}, {"id": "27", "sentence": "The composition follows a more or less linear path – starting with deep time."}, {"id": "32", "sentence": "To engage with this potential, De Player and Varia asked several artists to work with the tool and use the result as a starting point for a performance."}, {"id": "32", "sentence": "Christine Cornwell one dot = one degree / one step / one word spoken This piece explores different layers of interpretation taken from the starting point of any archive-text-score."}], "times": [{"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson has been part of DE PLAYER's programme with his quartet Fersteinn several times."}, {"id": "26", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "27", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "27", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "27", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}], "recorded": [{"id": "05", "sentence": "The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded."}, {"id": "28", "sentence": "Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "28", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "28", "sentence": "Since the beginning of his practice, he has made extensive use of recorded sound."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "30", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}], "entirely": [{"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}], "financial": [{"id": "24", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}], "Lee": [{"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}], "mining": [{"id": "27", "sentence": "From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "27", "sentence": "As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "27", "sentence": "What is the relationship between the sounds of mining and the community that surrounds them?"}, {"id": "27", "sentence": "Where does mining stop?"}, {"id": "27", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope."}, {"id": "27", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "27", "sentence": "For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "27", "sentence": "It doesn't relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "27", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area."}, {"id": "27", "sentence": "That's why I wanted to have a thread about the regeneration of mining areas."}, {"id": "27", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "27", "sentence": "This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "27", "sentence": "In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it ."}, {"id": "27", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}], "Þosteinsdóttir": [{"id": "22", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "Bladel": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "01", "sentence": "This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For this multi-vocal composition, Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "13", "sentence": "The entire 'Pushing Scores' project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer based in Amsterdam."}, {"id": "13", "sentence": "Remco van Bladel grew up in the record store of his father."}, {"id": "13", "sentence": "In his 2002 essay 'Musical Theories in Graphic Design', Bladel discussed the subject of graphic notation within a broader field of theory formation in contemporary music."}], "Brieselaan": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}], "consultant": [{"id": "17", "sentence": "George Brecht (27 Aug 1926–5 Dec 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson and Mobil Oil."}], "communities": [{"id": "27", "sentence": "You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}], "canvas": [{"id": "04", "sentence": "RAFAËL ROZENDAAL (NL) Rafaël Rozendaal is a visual artist who uses the Internet as his canvas."}], "never": [{"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "30", "sentence": "In that sense, there is never a perfect reproduction but always an interpretation."}], "larger": [{"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}], "Hans": [{"id": "32", "sentence": "She is currently completing a Composition MA at Codarts with Hans Koolmees/René Uijlenhoet and her freelance work includes presenting new works for violin, collaborative residencies, workshop leading and producing/curating events in this field."}], "exemplifying": [{"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}], "22": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}], "Rivie": [{"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}], "letting": [{"id": "06", "sentence": "Art is letting things go, let it flow."}, {"id": "06", "sentence": "That's just another way of letting things go, of giving up control."}], "Tcherepnin": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analogue modular synthesizer, which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}], "moving": [{"id": "06", "sentence": "The first hesitation was that the Casio version really works best through audience interaction – people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "16", "sentence": "As electronics became cheaper, smaller and faster in the 1980s, the dated technology of using analogue vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterised graphics and animations, and moving image quickly took their place."}, {"id": "22", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "27", "sentence": "Far down in the Earth the rock is actually moving."}], "denote": [{"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?"}, {"id": "27", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}], "category": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "27", "sentence": "He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities."}], "monitors": [{"id": "16", "sentence": "The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures and scan-processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays or oscilloscope emulation softwares using the Pure Data programming environment."}], "Van": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "10", "sentence": "Artists who joined the event include Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont and Jan Kees Van Kampen."}], "reproducing": [{"id": "06", "sentence": "Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that."}], "Love": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Sandy 'Baby Fratelli' by The Fratellis 'Baby Love' by Nicole Scherzinger Feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "by Band Aid 'Do Without My Love' by Nathan [UK] 'Do You Know?"}], "contrary": [{"id": "06", "sentence": "Quite the contrary, actually."}], "received": [{"id": "24", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "30", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'."}], "carrier": [{"id": "12", "sentence": "During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}], "standard": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}, {"id": "31", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken."}], "level": [{"id": "04", "sentence": "At every level of detail, the everyday sound of our urban surroundings is the focus of his work."}, {"id": "20", "sentence": "In addition to the all-dominating impact of the music industry, which determines lifestyle at the level of confection, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "24", "sentence": "His work/action 'Product Placements', which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "28", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener."}], "Winehouse": [{"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}], "glass": [{"id": "05", "sentence": "The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself."}], "origin": [{"id": "30", "sentence": "However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible."}, {"id": "30", "sentence": "Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos, where he punched holes in piano cards to create extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "31", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin."}], "understood": [{"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts."}, {"id": "24", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}], "Lonely": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}], "Chili": [{"id": "24", "sentence": "Shena 'Dark Road' by Annie Lennox 'Delivery' by Babyshambles 'Desecration Smile' by Red Hot Chili Peppers 'Destination Calabria' by Alex Gaudino feat."}], "00": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam 'PUSHING' WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Buennagel (DE) and Derek Holzer (US)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00 @ Varia, Rotterdam ARCHIVING 'PUSHING SCORES' WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE For this event we will focus on archiving our 'Pushing Scores' project."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}, {"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}], "Kristoffer": [{"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}, {"id": "27", "sentence": "Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018."}], "TMIDI": [{"id": "30", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI and Timidity++ to create black MIDIs."}], "quipped": [{"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}], "beginning": [{"id": "06", "sentence": "It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here."}, {"id": "28", "sentence": "Since the beginning of his practice, he has made extensive use of recorded sound."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}], "occurs": [{"id": "30", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}], "Irish": [{"id": "22", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Festival (both Reykjavík and Glasgow), MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and the Irish Sound, Science and Technology Convocation in 2014, where Guðmundur was also keynote speaker."}], "realise": [{"id": "27", "sentence": "It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "When we met we had discussions about several professional subjects and decided to realise a publication."}], "STEIM": [{"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}], "Spahlinger": [{"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}], "publication": [{"id": "01", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "02", "sentence": "We proposed to the students that they devise an issue of our publication Tetra Gamma Circulaire."}, {"id": "05", "sentence": "We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us."}, {"id": "06", "sentence": "We showed this piece by Remörk at ART Rotterdam and then I asked Kris if he was willing to make a publication of it, meaning a record."}, {"id": "07", "sentence": "Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records."}, {"id": "07", "sentence": "TELCOSYSTEMS (NL) Telcosystems presents 'Resonanz', an electronic book combining a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "With 'Resonanz', Telcosystems presents an electronic book that combines a series of visual artworks and a sound publication."}, {"id": "07", "sentence": "For our event series within the context of the 'Pushing Scores' project, we programmed this evening after we got in touch with Telcosystems about their 'Resonanz' publication."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "13", "sentence": "He designed the publication and identity of the 'Aalto Natives' at the Finnish Pavilion of the 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale, the studio was responsible for the design of the publication and identity of 'to be all ways to be', the exhibition by herman de vries for the Dutch Pavilion."}, {"id": "26", "sentence": "The webs I've chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "When we met we had discussions about several professional subjects and decided to realise a publication."}, {"id": "28", "sentence": "The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Instead of making a paintwork publication, we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "29", "sentence": "Varia has developed a context and technical environment as a web-based archival publication."}, {"id": "32", "sentence": "Pushing Scores website launch and performance evening At the end of 2018, De Player approached Varia to develop a web-publication for their Pushing Scores project archive, which resulted in the current website."}, {"id": "32", "sentence": "Varia contributed by developing an archival web publication where the vernacular vocabulary of De Player creates the possibilities of text-based navigation across the collection of items."}], "Jetset": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00–Sun 12 Feb 2017 18:00 @ ART Rotterdam/Van Nelle Fabriek, Rotterdam 'PUSHING SCORES' AT ART ROTTERDAM For ART Rotterdam 2010 we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "Charlemagne": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "04", "sentence": "We were discussing several projects and possibilities for collaboration with Defne Ayas and Samuel Saelemakers of Witte de With Center for Contemporary Art when they asked us to participate in Charlemagne Palestine's exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' by organising a live event."}, {"id": "04", "sentence": "I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry-curdy noisette while Charlemagne's books were projected page by page on the wall."}], "matter": [{"id": "04", "sentence": "It’s not a matter of an event between spectators and a musician– it’s a space to submit to a process."}, {"id": "24", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "26", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}], "Video": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasuka's in several works, employed an analogue computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}], "According": [{"id": "24", "sentence": "According to Kreidler, the action, entitled 'Fremdarbeit', is intended to focus attention on the themes of exploitation and authorship."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "ability": [{"id": "25", "sentence": "Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}], "disturbances": [{"id": "14", "sentence": "By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "Source": [{"id": "11", "sentence": "For this multi-vocal composition, Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "tempo": [{"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "30", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues."}], "alternate": [{"id": "13", "sentence": "Yet these alternate approaches brought us together and made 'Pushing Scores' real."}], "alchemy": [{"id": "27", "sentence": "It’s a kind of sound alchemy."}], "having": [{"id": "06", "sentence": "But having made that 12\" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "20", "sentence": "DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}], "running": [{"id": "01", "sentence": "This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years."}, {"id": "10", "sentence": "ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years."}, {"id": "10", "sentence": "They reveal, in an immediate way, the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "31", "sentence": "One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "testing": [{"id": "06", "sentence": "I played around with filtering and octaves, because during testing we'd found that if we used slowly evolving records, the results were a lot more interesting."}], "Pay2Print": [{"id": "29", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine."}], "especially": [{"id": "06", "sentence": "It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it's so inviting towards an audience."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "13", "sentence": "The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design."}, {"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}, {"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "27", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}], "information": [{"id": "06", "sentence": "Sometimes I preferred elements because of harmonic information, notes that work well together, sometimes because of rhythms that worked well, etc."}, {"id": "13", "sentence": "He sees it as punk, experimental, noise, investigative and critical, searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "20", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past."}, {"id": "26", "sentence": "This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label."}, {"id": "30", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}], "Soundsystem": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Fred": [{"id": "02", "sentence": "‘Fred Flintstone meets the twenty-first century’, it was referred to as."}, {"id": "22", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "Justin": [{"id": "04", "sentence": "JUSTIN BENNETT (UK) Justin Bennett is an artist working with sound and visual media."}, {"id": "04", "sentence": "Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "24", "sentence": "Justin Timberlake & Timbaland 'Baby Baby' by Sunblock feat."}], "Karina": [{"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "MAT>NET>PU – PZI_XPUB TGC#3 Presentation 24 Mar 2017 @ DE PLAYER, Rotterdam with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg) An evening with remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}], "macumbista": [{"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}], "ongoing": [{"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel."}, {"id": "29", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}, {"id": "31", "sentence": "Spectral Arrows' is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "32", "sentence": "In an ongoing performance unexpected correlations will be produced between the items in the archive and the physical surroundings in which they are represented."}], "Caribbean": [{"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}], "Bas": [{"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}], "sealed": [{"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}], "fair": [{"id": "08", "sentence": "For a certain period we regularly took part in ART Rotterdam – an annual art fair in which commercial galleries and artist-run initiatives take part."}], "Don": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "16", "sentence": "In the early 1960s, the composer Morton Subotnik employed engineer Don Buchla to help him create 'the music of the future'."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "Team 'Don't' by Elvis Presley With The Jordanaires 'Don't Dance' by Midas 'Don't Give It Up' by Siobhan Donaghy"}], "Short": [{"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}], "Go": [{"id": "24", "sentence": "Crystal Waters 'Different World' by Iron Maiden 'Do It' by Nelly Furtado 'Do It 2 Me' by Cushh 'Do It Again' by The Chemical Brothers 'Do It Well' by Jennifer Lopez 'Do It Yourself (Go Out And Get It)' by Uniting Nations 'Do They Know It's Christmas?"}, {"id": "24", "sentence": "The Ping Pong Song)' by Enrique Iglesias 'Doing It Right' by The Go!"}], "Blunt": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "act": [{"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}, {"id": "32", "sentence": "Navigating within the data structure of the archive becomes an act of score notation, and is thus based on subjective association and drifting."}], "BÜNNAGEL": [{"id": "07", "sentence": "PUSHING' WITH TELCOSYSTEMS, JULIA BÜNNAGEL AND DEREK HOLZER Fri 20 Jan 2017 20:00 @ DE PLAYER, Rotterdam Live event for our 'Pushing Scores' project with Telcosystems (NL), Julia Bünnagel (DE) and Derek Holzer (US)."}, {"id": "07", "sentence": "— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne."}], "Vasulka": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "Paul": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}, {"id": "24", "sentence": "by Justice 'Dance Tonight' by Paul McCartney 'Dancefloor' by The Holloways 'Dancing Lasha Tumbai' by Verka Serduchka 'Dare Me (Stupidisco)' by Junior Jack feat."}], "upside": [{"id": "06", "sentence": "For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down."}], "redefine": [{"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}], "duration": [{"id": "11", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "18", "sentence": "This method of conducting, called 'cheironomy', consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "31", "sentence": "Spectral Arrows' is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "31", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance."}], "framed": [{"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "Arctic": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}, {"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "27", "sentence": "I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "27", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "27", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you."}, {"id": "27", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them ."}, {"id": "27", "sentence": "The Arctic is changing quickly."}], "Floris": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "FLORIS VANHOOF (BE) Floris Vanhoof is a filmmaker and musician from Belgium."}, {"id": "04", "sentence": "Floris Vanhoof played a set during which he used his brainwaves to influence his synthesizer sounds, combining this with a projection and a laserbeam."}], "sequencing": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "parking": [{"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "channel": [{"id": "19", "sentence": "Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "30", "sentence": "The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show."}], "bunch": [{"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}], "beauty": [{"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it's own."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "26", "sentence": "The sonification of spider webs asserts a reverence for the environment, the beauty of the ephemeral and loss."}], "beneficial": [{"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}], "Myers": [{"id": "26", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose, 'This requires reading with our sense attuned to stories told in otherwise muted registers."}], "magnetic": [{"id": "06", "sentence": "Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Principium 2.0' comes in the form of twelve records and this magnetic application, which follows very elementary rules – some old, some new."}, {"id": "06", "sentence": "And so, he went on to design 'Principium 1.0'; a magnetic board with the same field as the sticker sheets, which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called 'telephone adapters'."}, {"id": "27", "sentence": "The musique concrète, as developed by Henry at GRM, was made by magnetic tape."}, {"id": "27", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}], "filed": [{"id": "29", "sentence": "We know Varia as a community based initiative which combines several knowledge bases in the interdisciplinary filed of music, programming, publishing, hacking, social interventions and critical positions, among others."}], "allowed": [{"id": "08", "sentence": "It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "30", "sentence": "The two largest black MIDIs are 'Armageddon v3' and 'TheTrueEnd', both of which contain the maximum number of notes allowed in the MIDI standard (about ninty-three trillion)."}], "she": [{"id": "07", "sentence": "Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "As a dancer she is curious about why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "By writing choreographies for software and computer elements, she utilises these technologies as actors in software/noise pieces for, and in, computers."}, {"id": "25", "sentence": "Within this framework, she investigates the working of memory with the intention to recreate situations, thus evoking a 'presence'."}, {"id": "25", "sentence": "Through subjective interpretations of the ability to instrumentalise objects, she creates catalysts for thinking and contemplation."}, {"id": "25", "sentence": "Because she uses and records the archive, the end result almost turns out to be a DJ set."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "26", "sentence": "Her research often leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "26", "sentence": "She presented her project entitled 'Arachnes Sonifier', in which she captures and makes audible spider webs."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "26", "sentence": "Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs."}], "scripture": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam."}, {"id": "01", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam."}], "weren": [{"id": "06", "sentence": "I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren't for Vaast's initial invitation, or for Peter asking me to do a record, or Dennis wanting to present it in Antwerp."}, {"id": "06", "sentence": "Or perhaps you would perceive it as a failure if it weren't enjoyable without the concept?"}], "sheet": [{"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "Colson made two booklets in the 'Principium' series – comprised of reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "11", "sentence": "The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this."}, {"id": "30", "sentence": "In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands."}, {"id": "30", "sentence": "The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music."}, {"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "Metrostation": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Metrostation Maashaven."}], "idea": [{"id": "05", "sentence": "He came up with the idea of the Xerox copier, which within a single contained print run makes in an audio recording, a booklet and a printed image."}, {"id": "06", "sentence": "Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated."}, {"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}, {"id": "06", "sentence": "As Delacourt didn't just want to publish a record with recordings of the 'Principium 1.0', he decided to transpose the idea onto a prepared record player using magnets and a specific device."}, {"id": "06", "sentence": "The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "But it's still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural, as well as the acoustic presence and the compression of an idea when working with the playback possibilities and impossibilities of recording techniques."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the working process."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "14", "sentence": "He came up with the idea to give a reading of his text 'Schematics as a Score', because that was a current issue of his practice."}, {"id": "20", "sentence": "This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role."}, {"id": "22", "sentence": "The idea of 'anitation' and the work of Guðmundur Steinn Gunnarsson fits perfectly within 'Pushing Scores'."}, {"id": "25", "sentence": "Ana Guedes' project 'UNTITLED RECORDS' fits into our idea of finding new ways to compose very seamlessly."}, {"id": "25", "sentence": "Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'."}, {"id": "26", "sentence": "The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination."}, {"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}, {"id": "27", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim."}, {"id": "29", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "30", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one."}, {"id": "30", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up."}], "Daniel": [{"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}], "greater": [{"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}], "soil": [{"id": "27", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range..."}], "moment": [{"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}], "sequencer": [{"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}], "interweaves": [{"id": "25", "sentence": "Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}], "pleased": [{"id": "08", "sentence": "Pushing Scores 20 Jan 2019 @ ART Rotterdam, Rotterdam with Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel For ART Rotterdam 2017 we are pleased to present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "looked": [{"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}], "St": [{"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in-residence at St Michael's in Manhattan in 1962."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting in 1963."}, {"id": "26", "sentence": "We became acquainted with Helga Jakobson's work through Bas van den Hurk, who at the time of introduction was teaching on the postgraduate program that Helga took part in at St Joost."}], "Mariah": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "intently": [{"id": "21", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As he explains, 'By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}], "positive": [{"id": "23", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}], "Jibbs": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "keys": [{"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges."}], "formula": [{"id": "19", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record."}], "counterpoints": [{"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}], "pertinent": [{"id": "01", "sentence": "It will unfold through a nomadic program that includes the creation of newly commissioned artworks and public events that address contemporary questions and issues pertinent in this particular field."}], "mobile": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "11", "sentence": "PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get inside the Dutch pop temple of Paradiso."}, {"id": "27", "sentence": "Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste."}], "enrolled": [{"id": "24", "sentence": "In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA."}], "becoming": [{"id": "06", "sentence": "That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record."}], "Funny": [{"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23:00, and at about two minutes to then I got the first ever instruction to leave all the turntables empty."}], "sleep": [{"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}], "atop": [{"id": "06", "sentence": "The idea was to put white magnets atop of the coloured dots as a way to blank them out."}], "reduced": [{"id": "06", "sentence": "Principium 1.0' appeared as a hacked synth reduced to a single octave, to be played with magnets on a colourful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}], "comet": [{"id": "27", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}], "Sat": [{"id": "01", "sentence": "Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt."}], "West": [{"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}], "subjects": [{"id": "28", "sentence": "When we met we had discussions about several professional subjects and decided to realise a publication."}], "Event": [{"id": "09", "sentence": "Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead."}, {"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "For his 'Vehicle Sundown Event', he published a set of about fifty cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "The 'Event Scores' of George Brecht are still actual pieces."}], "continue": [{"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}], "stage": [{"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "12", "sentence": "The third stage deals with the mechanical reproduction of music and the fourth stage could be considered as already referring to the idea of sampling, although it was only first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Because of this ambiguity, we are interested in what this stage of music could represent."}, {"id": "13", "sentence": "We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer."}], "Foo": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "length": [{"id": "31", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole."}], "WiFi": [{"id": "02", "sentence": "Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine."}, {"id": "09", "sentence": "Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised."}, {"id": "09", "sentence": "The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer."}, {"id": "11", "sentence": "The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso."}, {"id": "11", "sentence": "The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building."}, {"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}], "obsolete": [{"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky and Steina & Woody Vasulka, among many others, as well as on ideas of media archaeology and the creative reuse of obsolete technologies."}], "eight": [{"id": "06", "sentence": "The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12\" vinyl record, which was released by the label Ultra Eczema shortly after."}, {"id": "06", "sentence": "He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers."}, {"id": "06", "sentence": "It's just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their eight by twelve grid they just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "Short version: First it was a one octave Casio keyboard, then it became twelve 10\" records, then it became an eight hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores – and they probably would be – but it's just that I was so intrigued by the leftover sticker sheets, with their eight by twelve grid that just screamed 'SEQUENCER!"}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10\" lathe cuts (which came in a box with those electronic switches), with eight magnets each as based on the original grid and a 12\" metal platter to sit under the 10\" for the magnets to stick to."}, {"id": "06", "sentence": "I followed that score for eight hours straight."}, {"id": "06", "sentence": "So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "DE PLAYER: Bringing an eight-hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "Were there people who actually listened to the whole eight-hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this."}, {"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}, {"id": "31", "sentence": "Where people would normally be doing their office work, Marco now played for eight hours in the empty office building."}], "hopefully": [{"id": "06", "sentence": "It's a document of what I'm happy to be working on at the moment, and hopefully it's something that others can enjoy as well."}], "Make": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "Patrol": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}], "Shikari": [{"id": "24", "sentence": "Eric Lumiere 'Any Dream Will Do' by Lee Mead 'Anything' by JoJo 'Anything Can Happen In The Next Half Hour' by Enter Shikari 'Apologize' by Timbaland feat."}], "serving": [{"id": "01", "sentence": "What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?"}, {"id": "07", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?"}, {"id": "26", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}], "trickster": [{"id": "26", "sentence": "There are spider figures in West African, Akan and Caribbean myths personifying the spider as a trickster."}], "Zone": [{"id": "16", "sentence": "Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "absent": [{"id": "23", "sentence": "But how can we score something not present, yet also not absent?"}], "slambanken": [{"id": "27", "sentence": "This ungraspable void of deep time fascinates me: The time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent 'slambanken' in Kirkenes – a manmade landscape of unusable slag that might be mined in the future ."}, {"id": "27", "sentence": "The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "27", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "27", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}], "lavender": [{"id": "26", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "Class": [{"id": "24", "sentence": "Holiday 'Before I Fall To Pieces' by Razorlight 'Beggin' by The Four Seasons 'Beginning Of The End' by Status Quo 'Best Of You' by Foo Fighters 'Bet On It' by Zac Efron 'Better' by Tom Baxter 'Beware Of The Dog' by Jamelia 'Big Girl (You Are Beautiful)' by Mika 'Big Girls Don't Cry' by Fergie 'Bigger Than Big' by Super Mal 'Bing Bang (Time To Dance)' by Lazytown 'Blag Steal & Borrow' by Koopa 'Bleed It Out' by Linkin Park 'Bleeding Love' by Leona Lewis 'Blood Sugar' by Pendulum 'Blood Sugar/Axle Grinder' by Pendulum 'Blue Suede Shoes' by Elvis Presley 'Bones' by The Killers 'Boogie 2nite' by Booty Luv 'Books From Boxes' by Maxïmo Park 'Borders' by The Sunshine Underground 'Break Up' by Kim Sozzi 'Breaking Free' by Zac Efron, Andrew Seeley & Vanessa Hudgens 'Breathless' by Shayne Ward 'Brianstorm' by Arctic Monkeys 'Bubbly' by Colbie Caillat 'Burn Faster' by Nine Black Alps 'Burning Love' by Elvis Presley 'Call The Shots' by Girls Aloud 'Calm Down Dearest' by Jamie T 'Can We Chill' by Ne-Yo 'Can't Get Along (Without You)' by Hard-Fi 'Candyman' by Christina Aguilera 'Carolyna' by Melanie C 'Catch You' by Sophie Ellis-Bextor 'Chain Hang Low' by Jibbs 'Change' by Sugababes 'Changes' by Gareth Gates 'Charlotte' by Air Traffic 'Chasing Cars' by Snow Patrol 'Chelsea Dagger' by The Fratellis 'Clean Up Your Eyes' by The Dykeenies 'Closer' by Travis 'Clothes Off' by Gym Class Heroes 'Clumsy' by Fergie 'Con Te Partiro' by Andrea Bocelli 'Counting Down The Days' by Sunfreakz Feat."}, {"id": "24", "sentence": "Andrea Britton 'Cowboy' by Ch!pz 'Crank That (Soulja Boy)' by Soulja Boy Tell'em 'Crash' by Matt Willis 'Crazy' by Lumidee 'Crazy' by Gnarls Barkley 'Crush Crush Crush' by Paramore 'Cry Over Me' by Meat Loaf 'Cupid's Chokehold' by Gym Class Heroes feat."}], "contribute": [{"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp-based artists to contribute to the project."}], "may": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume."}, {"id": "27", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}], "quartet": [{"id": "21", "sentence": "IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "This technique of composing is performed by Guðmundur Steinn Gunnarsson and his quartet Fersteinn."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson has been part of DE PLAYER's programme with his quartet Fersteinn several times."}, {"id": "22", "sentence": "This Icelandic quartet plays with little analogue instruments and animation scores Gunnarsson made on his computer."}, {"id": "22", "sentence": "He runs his own multi-instrumentalist quartet called Fersteinn."}], "array": [{"id": "27", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}], "temporal": [{"id": "10", "sentence": "Software being processed creates its own temporal and spatial dimensions, which are staged for a public."}], "relationships": [{"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}], "expressive": [{"id": "31", "sentence": "Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise."}], "oscillate": [{"id": "23", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}], "Saturday": [{"id": "31", "sentence": "He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00."}], "Arts": [{"id": "01", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "01", "sentence": "Experimental Jetset (NL) Davide Mosconi (IT) DUPAC (INT) Studio Moniker (NL) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (NL) Telcosystems (NL) Floris Vanhoof (BE) Rafaël Rozendaal (NL) Valentina Vuksic (CH) Ana Guedes (PT) Helga Jakobson (CAN) Niek Hilkmann (NL) Varia (NL) John Duncan (US) Johannes Kreidler (DE) Jörg Piringer (AT) BJ Nilsen (SE) Douglas Kahn (US) Aurélie Lierman (BE) Max Franklin (AU) Remco van Bladel (NL) Johannes Bergmark (SE) Hiele Martens (BE) Vaast Colson (BE) Peter Fengler (NL) Florian Cramer (DE/NL) Julia Bünnagel (DE) Derek Holzer (US) JODI (NL) Anne-Mie Van Kerckhoven (BE) Evelin Brosi (BE) Yann Goudron (FR) Charlemagne Palestine (BE) Matthieu Reijnoudt (NL) Willem de Haan (NL) Rowan van As (NL) Vos van der Noordt (NL) Julia Reinhold (NL) Students of XPUB at the Piet Zwart Institute, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] Students of Artez Fine Arts and Graphic Design, Arnhem Students of Fontys Academie, Tilburg Witte de With Center for Contemporary Art, Rotterdam Pinkie Bowtie, Antwerp Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem."}, {"id": "04", "sentence": "He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem."}, {"id": "13", "sentence": "His clients include artists like Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout, alongside institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM: studio for electro-instrumental music."}, {"id": "22", "sentence": "He studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "27", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "27", "sentence": "His best known book, 'Noise, Water, Meat: A History of Sound in the Arts', was published by MIT Press in 1999."}], "decision": [{"id": "06", "sentence": "But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}], "situ": [{"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}], "McFly": [{"id": "24", "sentence": "Will.I.Am 'Baby When The Light' by David Guetta 'Baby's Coming Back' by McFly 'Baby's Coming Back/Transylvania' by McFly 'Back To Black' by Amy Winehouse 'Backfire At The Disco' by The Wombats 'Bad Girl (At Night)'' by Dave Spoon feat."}], "springs": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "Amazing": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "web": [{"id": "04", "sentence": "Rafaël Rozendaal showed his web work 'Slow Empty', which functioned as real-time clockwork for the event."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "To communicate the project to a larger audience, DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the 'Pushing Scores' project."}, {"id": "26", "sentence": "Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "26", "sentence": "The intact web will not exist long in the world, and with my interference even less so."}, {"id": "26", "sentence": "This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web."}, {"id": "26", "sentence": "A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays."}, {"id": "26", "sentence": "In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "26", "sentence": "The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project."}, {"id": "29", "sentence": "Varia has developed a context and technical environment as a web-based archival publication."}, {"id": "32", "sentence": "Pushing Scores website launch and performance evening At the end of 2018, De Player approached Varia to develop a web-publication for their Pushing Scores project archive, which resulted in the current website."}, {"id": "32", "sentence": "Varia contributed by developing an archival web publication where the vernacular vocabulary of De Player creates the possibilities of text-based navigation across the collection of items."}], "Hague": [{"id": "24", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium, the Hague."}, {"id": "25", "sentence": "Ana Guedes is a multidisciplinary artist from Portugal who lives and works in the Hague."}], "Away": [{"id": "24", "sentence": "One Republic 'Are You Trying To Be Lonely' by Andy Lewis & Paul Weller 'Arnold Layne' by David Gilmour 'Australia' by The Shins 'Autumnsong' by Manic Street Preachers 'Away From Here' by The Enemy 'Axle Grinder' by Pendulum 'Ayo Technology' by 50 Cent feat."}], "frequency": [{"id": "16", "sentence": "Buchla redesigned the existing function generators of analogue computers to respond to voltage controls of their frequency and amplitude."}, {"id": "27", "sentence": "Different types of stone give different frequency readings."}], "HIELE": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00 @ DE PLAYER, Rotterdam TETRA GAMMA CIRCULAIRE #3 / MAT>NET>PU – WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON AND XPUB An evening of remarkable experiments and materialised conceptual flip-flop."}, {"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}], "Foerster": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina & Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "originators": [{"id": "17", "sentence": "One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art."}], "1234": [{"id": "24", "sentence": "How Could You) Bring Him Home' by Eamon ''(I'm Gonna Be) 500 Miles' by The Proclaimers with Brian Potter & Andy Pipkin '(Let Me Be Your) Teddy Bear' by Elvis Presley with The Jordanaires ''(You Want To) Make A Memory' by Bon Jovi '1234' by Feist '1973' by James Blunt '2 Hearts' by Kylie Minogue '3's & 7's' by Queens Of The Stone Age '4 Am Forever' by Lostprophets '4 In The Morning' by Gwen Stefani '505' by Arctic Monkeys 'A Bad Dream' by Keane 'A Big Hunk O' Love' by Elvis Presley With The Jordanaires 'A Day In The Life' by Larrikin Love 'A Moment Like This' by Leona Lewis 'A Never Ending Dream' by Cascada 'A Public Affair' by Jessica Simpson 'A Whole New World' by Katie Price & Peter Andre 'About You Now' by Sugababes 'About Your Dress' by The Maccabees 'Acceptable In The 80s' by Calvin Harris 'Acrylic' by The Courteeners 'Adagio For Strings' by DJ Tiesto 'Ain't No Party' by Orson 'Alarm Clock' by The Rumble Strips 'Alfie' by Lily Allen 'All Good Things (Come To An End)' by Nelly Furtado 'All I Got' by Newton Faulkner 'All I Need To Know' by Emma Bunton 'All I Want For Christmas Is You' by Mariah Carey 'All My Friends' by LCD Soundsystem 'All She Wrote' by Ross Copperman 'Almost Easy' by Avenged Sevenfold 'Always On My Mind' by Elvis Presley 'Amazing' by Seal 'America' by Razorlight 'An American Trilogy' by Elvis Presley 'An End Has A Start' by Editors 'Anarchy In The UK' by The Sex Pistols 'Angel On My Shoulder' by Gareth Gates 'Annie Let's Not Wait' by Guillemots 'Anonymous' by Bobby Valentino feat."}], "lecture": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture titled 'Schematic as Score: Use and Abuse of the (In)Deterministic Possibilities of Sound Technology'."}, {"id": "20", "sentence": "In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts."}, {"id": "22", "sentence": "He gave a lecture on this subject and played several pieces with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen, amongst which some were by Gunnarsson."}, {"id": "29", "sentence": "His presentation was a crossover between a lecture and a demonstration."}], "phi0978": [{"id": "27", "sentence": "Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "miss": [{"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}], "rendering": [{"id": "31", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "composers": [{"id": "09", "sentence": "HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "17", "sentence": "He is inspiring for a lot of performance-based composers."}, {"id": "24", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself."}, {"id": "24", "sentence": "For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin."}, {"id": "29", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon."}], "funding": [{"id": "13", "sentence": "This encompasses the conceptualisation, the funding and the execution."}], "Ones": [{"id": "24", "sentence": "Lisa Maffia 'Balloons' by Foals 'Barbie Girl' by Samanda 'Be Without You' by WiFi 'Beautiful Girls' by Sean Kingston 'Beautiful Liar' by Beyonce & Shakira 'Beautiful Ones' by Billiam 'Because Of You' by Ne-Yo 'Bed' by J."}], "resulted": [{"id": "06", "sentence": "This resulted in 'Principium 2.0'."}, {"id": "06", "sentence": "This was quite a process but it eventually resulted in a beautiful limited edition of twelve pieces, developed and designed in collaboration between Kris and the team of DE PLAYER."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks."}, {"id": "32", "sentence": "Pushing Scores website launch and performance evening At the end of 2018, De Player approached Varia to develop a web-publication for their Pushing Scores project archive, which resulted in the current website."}, {"id": "32", "sentence": "This resulted in an evening event held at Varia on the 31st of May, where Julie Boschat Thorez and Cristina Cochior from Varia gave a brief introduction to the website, followed by Niek Hilkmann, Christine Cornwell and Robert Kroos's score interpretations."}]} \ No newline at end of file